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MJA&AZIP 





TVoisember 




Mary PicKford Strd 

BEGINS IN THIS ISSUE 



and 
reer 



JBeccuty ccnd Urcrins Contest 
^Fashions ctncl Me Screen 






Iln the fingers of the left hand, f\ Spread the tobacco the lengtn 
hold paper, curved, to receive f. of the paper, making it ilighlly 



the tnbacco, poured with the 
right hand 



hollow in the centre. 



3 Then i 
next to 
of the | 



Then place your two thumbs 
each otherin the middle 
paper in this position. 



How To "Roll Your Own" 

It's a simple, easy process. You can do it 
with your eyes shut after a little practice. And 
what a joy is the fresh, fragrant cigarette of 
"Bull" Durham rolled by your own hand to 



your own liking 



liking! F« 



ou roll your own wi 



th 



4* 



"Bull" and note the difference. 
GENUINE 

Bull Durham 

SMOKING TOBACCO 

All over the world men of energy and 
action are rolling "Bull" into cigarettes. It's the 
smart smoke — the lively smoke— the mild smoke. 

"Bull" Durham, made cf "bright" Vir- 
ginia-North Carolina leaf, has a mellow-sweet- 
ness that is unique and an aroma that is 
unusually pleasing. 

Start "rolling your own" with "Bull" Dur- 
ham today and you'll never again be satisfied 

with any other kind of a 
cigarette 



Ask for FREE pack' 
age of "papers" 
with each 5c 




POT 17 An Illustrated Book- 
* AxJ-*J-* let, showing correct 
way to "Roll Your Own" Cigarettes, 
and a package of cigarette papers, 
will both be mailed, free, to any 
address in United States on request. Address 
"Bull" Durham, Durham, N. C, Room 1329. 
THE AMERICAN TOBACCO COMPANY 



4RollCigaretteonlowerfingers, 
index fingers moving up With 
thumbs gently force edge of 
paper over the tobacco. 



5 Shape the Cigarette by rolling 
it with th.- thumbs as you draw 
them apart. 




• Hold the Cigarette in your 
| right hand, with edge of paper 
slightly projecting, and — 




' With the tip of your tongue 
moisten the projecting edge of 
the paper. 




8 



CloseendsofCigarefteby twist- 
int.- the paper. The Cigarette is 
now ready to smoke. 




Photoplay Magazine — Advertising Section 




k^SRO" T SE «^ft^ 




B2 

1 ct. dia. 
Compl. $104.50 



J313 

1/8 ct. dia. 
Compl. $12.50 




B3 

1/2 ct. dia. 

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14k MU| 
Compl. with 
1/8 c. dia. $12.00 
1/4 c. dia. 21.25 
3/8 c. dia. 35.00 
1/2 c. dia. 48.75 
U/4 c. dia. 71.25 
U c. dia. 101.25/ 






B4 

1/3 ct. dia. 
Compl. $27.50 



7 (lias. 

Compl. $17.50 I 




B7 

Coral Cameo 
2 dias. 
Compl. $17.50 




B8 

3/8 ct. dia. 
Compl. $33.50 



86 

Solid gold filled 
dia. set knife 
Compl. $1.75 



WE SAVE YOU 35% 



We import diamonds direct from the 
European cutters and thus eliminate middle- 
men's profits; our tremendous sales justify 
smallest profits and this enables you to buy 
genuine perfect cut diamonds at the lowest price 
ever offered— $97.50 PER CARAT. These dia- 
monds are full $150.00 per carat retail value. 



WE SHIP FOR YOUR 



iMj. T jik»ira;i 

Never mind the money! YOU PROVE 
OUR CLAIMS YOURSELF AT OUR EXPENSE. 

Just select one or more articles from our cata* 
logue or from this page. We ship for your free 
examination — entirely at our expense — without 
obligating you to buy— without it costing you 
one cent. If you don't say the article we send 
you is the greatest value you have ever seen, 
simply return it at our expense. 



A WRITTEN LEGAL 

MONEY-BACK GUARANTEE 



It protects you against disappointment 

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weight, quality and value of the diamond. "See 
that your diamond is Basch guaranteed." 




15 

Oia. set 
$1.75 per pair 



810 

3/8 ct. dia. each 
Compl. $65.50 



B9 

Onyx. 1 dia. 

Compl. $22.50 



BEAUTIFUL BASCH DELUXE 

DIAMOND BOOK FREE 



We wiirforward you postpaid, a copy 
of this beautiful book upon receipt of your name 
and address. It is complete, valuable and 
authoritative. Contains facts written. by life- 
long: experts which enable you to buy your dia- 
m monds and jewelry safely. A helpful guide to 

select Christmas gifts and gifts for all other occasions. Thousands of illustrations of 
diamonds, watches, platinum and gold jewelry, silverware, cut glass, etc.— all ^J 
priced to you at remarkably low figures. See this book before making your pur* /K^, 

Mail coupon or write us >y **& 




chase— you will appreciate our money-saving prices, 
a letter or postcard for your free copy. NOW! 



Baaam 

MONEYBACK 
CUARANTEE 



L. BASCH & CO. 

Dept. L2520, State and Quincy Sts. A 

CHICAGO, U. S. A. m 



M 



s 



/ / /& 



When you write to advertisers please mention PHOTOPLAY MAGAZINE, 



REG. U. S. PAT. OKF. 



PHOTOPLAY MAGAZINE 

The National Movie Publication" 

Copyright, 1915, by the Photoplay Publishing Company. Chicago 



VOL. VIII 



No. 6 



CONTENTS FOR NOVEMBER, 1915 

Cover Design— MARY PICKFORD 

Pictures of Popular Photoplayers 

Mary Anderson, Carlyle Blackwell, Violet Mersereau, Francis X. Bushman, William 
Garwood, Tsuru Aoki, Ford Sterling, Winifred Greenwood. Screen Manne- 
quins — Marguerite Courtot, Marguerite Clark, Mary Pickford, 
Pauline Frederick, Jane Miller, Mary Fuller. 



Fashions and the Screen 

How pictures dictate styles. 

The Crimes of Cleo 

An interview with a back-slidden heroine. 

Blanche Sweet (Photograph) 

Showing the sweet person in her foreign car. 

Carmen (Story) 

A woman juggles life, honor, and love. 

A Day at the Humor Works (Cartoon) 
The Genius Mill (Story) 

Someone sawed the rungs on the ladder of fame. 

Invincible! (Cartoon) 
"Close-Ups" (Editorial) 

Snapshots here and there by the Editor. 

Futurist Fotoplay — A Scenario 

Contents continued on next page 

lllllIllllllIIIIIIIIIM^ 

Published monthly by the Photoplay Publishing Co.. 350 N. Clark St., Chicago, 111. 
Edwin M. Colvdj. Pres. Jambs R. Quirk, Vice-Pres. and Gen. Mgr. 

Robert M. Eastman, Sec.-Treas. Julian Johnson, Editor. 

Yearly Subscription: $1.50 in United States, its dependencies, Mexico and Cuba; $2.00 to Canada; $2.50 
to foreign countries. Remittances should be made by check, or postal or express money order. 

Caution— Do not subscribe through persons unknown to you. We employ no subscription solicitors. 
Entered at the Postoflice at Chicago, III., as Second-class mall matter 



Lillian Howard 


27 


William M. Henry 


29 




33 


John Sheridan 


35 




44 


Jan Muenchener 


45 




48 




49 



Randolph Bartlett 52 



CONTENTS FOR NOVEMBER, 1915— Continued 

niiiiiiiiiiiiiipiiiiiuuiiiiiuQiiiiiiiiiiiiMiiiiuiiiiiiiiiniuiiiili 

Mary Pickford Julian Johnson 53 

The first installment of the noted screen player's biography. 



The Ivory Snuff Box 

While the fortunes of Europe swing in the balance. 

Locations 

How the movie "property man" works. 

The "Beauty and Brains" Contest 

Committee of judges published in this issue. 

"Bob and Ella" (Interview) 

Some interesting views of art's affinities. 

Plays and Players 

What your favorites are doing. 

Queen Mary 

An impression of Mary Miles Minter. 

Peer Gynt (Short Story j 

The tale from Henrik Ibsen's great drama. 

Investing in the Movies 

Valuable advice to prospective investors in pictures. 

The Face That Drives 

Herbert Brenon, the tornado, in action. 

Seen and Heard at the Movies 

Wit and humor from our readers. 

Hints on Photoplay Writing 

Helpful advice for scenario writers. 

Mollie of the Movies . 

Further literary efforts of a screen aspirant. 

Star of the North 

A gripping tale of art, love and fight in the north woods. 

The Iron Strain 

How blood told in the stress. 



Garry Bournemouth 
William M. Henry 



Honolulu's Garish Night 

The Hawaiian as a movie fan. 

Moving Pictures in the Church 
Rocks and Roses 

While we blush and bow. 

"The New Twist" 

Or old Ideas in Sunday-go-to-meetings. 

Questions and Answers 

What folks want to know. 



Phil Lang 



73 



83 



K. Owen 87 



Carl M. Thrall 96 

Jane Osborne 98 

Paul H. Davis 109 

Johnstone Craig 111 

116 

Leslie T. Peacocke 119 

Kenneth McGaffey 123 

Frank B. Williams 127 

Mrs. Ray Long 139 

Nathaniel Pfeffer 147 



6 Photoplay Magazine — Advertising Section 

^Jiiiiiiiiiti iDiliiim li iimiki ii iMiitiiiiiiniiHiiiMMiinniiniiiMi 11 iiiUMinnHniiHiiiiHiiini 1 n mi n i inn inn n hum iimitn n i nut u n nil 1 1 n iium i hiiui 111^ 



IT MAY BE 



(DECEMBER 

I on the calendar, but it's always glowing sum- 
mer in Photoplay Magazine. So here are 
a few sample sprinklings of next month's 

PEP 

I The Real Farrar 

Queen Geraldine of the Movies and the Metropolitan ; 
a story about the girl, not her art. By one who knows. 

| The Star Soubrette 

of Photoplayland. Know who she is? She's compara- 
tively a novice, but everyone has admired her. This 
will be the first authoritative story about her. 

| Business and Art 

another one of Karl K. Kitchen's terse and forceful 
reports. This time the subject is J. Stuart Blackton, 
= the vitality of Vitagraph. 

| Pickford's Belasco Days 

How Saint David put a star's halo on little Mary's 
placid brow. Pictures — never-told facts. 

I Beginnings in California 

Hobart Bosworth, greatest of picture-pioneers, will 
give, for the first time, an account of the commencement 
of the country's most interesting industry: Canning 
= California's Sunshine. 

| Harold Lockwood 

Facts about a matinee idol of national adoration. 

| Where the Babies Come From 

Did you ever wonder, yourself, where they got the tiny 
silent squealers? A joyous revelation by Grace Kings- 
ley; illustrated by Raymond Stagg. 

I A Day in Triangle 

A Waterman snap-shot of one of the world's most 
= interesting picture-mines. 

| Channing Pollock Begins — 

you'll find the detail of this remarkable announcement 
on page 118. 



MORE 

of the remarkable 

Photoplay 
Reviews 

beginning this issue. 

000 

Splendid Fiction 

000 

A vibrantinstallment 
of the greatest of 
all movie novels, 

"Star of the 
North" 

with a punch like a 
crash at the finish. 

ooo 

Advice to 
Movie Investors 

OCXS 

News 

ooo 

Virile 
Short Stories 

ooo 

Editorials 

ooo 

Advice to 
Photoplaywrights 

ooo 

Features 

ooo 

Photographs 

ooo 

"Short Stuff" 



^ILEMIIl fill M ITIIM I1UI H! IIIII I ll« lllliri Mil] 1 1 1 II t IMH M M 1 1 1 1 1 1 M I M 1 1 ! H ■ 1 1 1 M n ) I U II 1 1 1 1 1 1 tfl IIIIM I i I M 1 1 1 1 1 K I ! 1 1 1 1 : 1 1 1 1 1 IttH KM I < I Mill i h » h H 1 M M 1 1 II [ I h T T li 1 1 1 i FI 1^ 

Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazine — Classified Section 




Agents 



AGENTS— 500% PROFIT; FREE SAMPLES; 
gold sign letters for store and otlice windows; 
anyone can put on. Metallic Letter Co., 414 N. 
Clank St., Chicago. 

FREE— TO ANY WOMAN. BEAUTIFUL 42- 
Piece Gold Decorated Dinner Set for distribut- 
ing only 3 doz. Free cakes of Complexion Soap. 
No money or experience needed. F. Tyrrell 
Ward, 210 Institute Place, Chicago. 

WE WILL PAT YOU $75 PER MONTH TO 
travel, collect names, advertise and distribute 
samples. Expenses advanced. Write today. 
Rider Co., Dept. 117, Coshocton, O. 

TWO CENTS GETS PROPOSITION ON GOOD- 
rich Rubber Telephone ear Cushions. Every 
phone user a prospect. Effectually excludes all 
outside noises. Full outfit for fifty cents (re- 
turnable) and book on salesmanship. 100 to 
150%. Framco Co., No. 12 Majestic Bldg., De- 
troit, Mich. 

WE WILL APPOINT ONE EXCLUSIVE SALES 
agent in every county, position is worth $1200 a 
year. We train the inexperienced. Write to the 
largest Mfr. of transparent handled knives for 
special offer. Novelty Cutlery Co., 286 Bar St., 
Canton, Ohio. 

PORTRAITS, PHOTO PILLOW TOPS, PHOTO 
plates, medallions, frames, sheet pictures, lumi- 
nous crucifixes, war books, papier mache frames, 
"Photo Pennants," merchant's changeable signs, 
etc. Very lowest prices; rejects credited; prompt 
shipments, 30 days' credit; catalog and samples 
free. James C. Bailey Co., Desk X, Chicago. 

AGENTS— GET PARTICULARS OF ONE OF 
the best paying propositions ever put on the 
market. Something no one else sells. Make 
$4000 yearly. Address E. M. Feltman, Sales Mgr., 
3171 Third St., Cincinnati, O. 

"S-O-N" MEANS AGENTS' EASIEST TEN CENT 
seller and surely a money maker. Either sex. In- 
nuiries must be accompanied by dime for sample. 
Harsch Co., Indianapolis. 

I NEED BRANCH MANAGERS FOR MY 
world-wide mail order business: operate from 
your own home in spare time; no canvassing or 
peddling; experience unnecessary; you should 
make $50 weekly. Butler 420 Factories, Toledo, 
Ohio. 



Educational 



AMERICA'S FINEST PENMAN TEACHES 
rapid, tireless business writing by mail. Journal 
free. Francis B. Courtney, Box P, 492, Detroit, 
Mich. 

RIG PAY IN DRAWING — PLEASANT. PROF- 
itable work. Let us develop your talent. Send 
six cents in stamps for book on art study. 
Washington School of Art, 921 F Street, AVash- 
ington, D. C. 



Pictures and Post Cards 

16 PHOTOS OF FEMALE BEAUTIES TAKEN 
from life for 10 cents. Kaye Co., Box 67, Ottawa, 
111. 

STUNNING PHOTOS OF GIRLS FROM LIFE. 
Bewitching, unusual poses. Very clear. Splen- 
did sample pack for 25c. Reuben Olive. Will- 
mar. Minn. 

JOIN THE OXFORD POSTCARD EXCHANGE 
and receive cards from faraway lands. Member- 
ship 10c. Keniston, Publisher, South Paris, 
Maine. 

PEAL PHOTOS OF PRETTY GIRLS IN 
bewitching poses, samples, 10c. K. L. Sun Co., 
Harrison, Mich. 

10 CLASSY POSTCARDS AND CATALOGUE, 
10c. Stewart Co.. Providen ce. R. I. 

"PRETTY GIRLS"— RICH SAMPLES TRUE 
to nature 10c. Catalogue 2c. Taylor Brothers, 
P-2130 Clifton. Chicago. 

PHOTOS— PRETTY GIRLS, BEWITCHING 
poses from life. Colored Post Card size, two for 
25c coin. Box 529, Eureka Springs, A rk. 

EXCHANGE POSTCARDS WITH FRIENDS 
everywhere. Splendid Directory. 10c (silver). 
Buckeye Club, Box 340-W, Cleveland, Ohio. 

ART STUDIES. SAMPLES AND CATALOG 
10c. J. Tillberg, Proctor, Vt. 

For the Photographer 

FILMS DEVELOPED 10c, ALL SIZES. PRINTS 
214-854, 3c; 2V4-414, 3V4-3V4. 3>4-4!i, 4c; Post 
Cards. 50c doz. Work guaranteed and returned 
24 hours after receiving. Postpaid. Send nega- 
tives for samples. Girard's Commercial Photo 
Shop, Holyoke. Mass. 

KODAKS, ALL MAKES OF CAMERAS, Mo- 
tion picture cameras, anastigmat lenses, speed 
shutters, about half regular prices. Send for 
Big Bargain l!ook. Koehler's Camera Exchange, 
Inc., 7 East 14th Street, New York City. 

IF YOU TAKE PICTURES, SEND ADDRESS 
for information that may interest and benefit 
you. Myland, 2125 N. Front, Philadelphia, Pa. 



Old Coins 



$2 TO $500 EACH PAID. FOR HUNDREDS OF 
coins dated before 1910. Send ten cents for New 
Illustrated Coin Value Book, 4x7. Showing 
guaranteed prices. It may mean your fortune. 
Get posted. Clarke Coin Company, Box 127, Lo 
Roy, N. Y. 



Diamonds 



$100 DIAMOND, $1 DOWN, $1 A WEEK, GEN- 
uine perfect cat diamond. Mid-West Diamond 
Co., Omaha, Nebr. 



(CONTINUED ON PAGE 8) 



Photoplay Magazine — Advertising Section 

(CLASSIFIED SECTION CONTINUED FROM PACE 7) 



Photoplay Text Books 



WHITE PHOTOPLAYS — FILM COMPANIES 
pay $lu to $100 for each play accepted. Con- 
stant demand. No correspondence course. Our 
book tells all, sample play, list of companies 
buying plays, etc. Write today for free details. 
Atlas Pub. Co., 394 -Atlas Bldg., Cincinnati, O. 

MAKE BIG MONEY WRITING MOVING l'IC- 
ture plays in spare time* Correspondence course 
Unnecessary. Our up-to-date "Book of Instruc- 
tions" tells how. Sample play, list of companies 
buying plays. Free details and special offer. 
E-Z Scenario Company, X 309 West 93rd St., New- 
York. 

HOW TO WRITE PHOTOPLAYS BY C. G. 
Winkopp, 287 Broadway, New York City, 25 cents 
postpaid. Contains model scenario. 



Salesman 



SALESMEN — GET OUR PLAN FOR MONO- 
graming automobiles, motorcycles, traveling 
bags, trunks, etc., by transfer methods; very 
large profits. Motorists' Accessories Company, 
Ashland, Ohio. 



Novelties 



AUTOGRAPHED PILLOW TOPS IN SEPIA 
brown on old gold satine 18x18 inches, only 
twenty-five cents each. Francis X. Bushman, 
Jack Kerrigan, Maurice Costello, Crane Wilbur, 
Arthur Johnson, Marguerite Snow. Belle Adair, 
King Baggot, Carlyle Blackwell, Broncho Billy, 
John Bunny, Mary Fuller, Mabel Normand, Alec 
Francis, Clara Kimball Young, Alice Joyce, Nor- 
ma Phillips, Thanhouser Kidlet, Blanche Sweet, 
Ethel Grandon. R. K. Stanbury, Dept. P, Flat- 
iron Building, New York City. 



Typewriters 



LARGEST STOCK OF TYPEWRITERS IN 
America — All makes: Underwoods, Olivers, Rem- 
ingtons, etc., one-fourth to one-half manufac- 
turers' prices, $15.00 up; rented anywhere, ap- 
plying rent on price; free trial; installment pay- 
ments if desired. Write for Catalogue 65, Type- 
writer Emporium (Estab. 1892), 34-36 West Lake 
Street, Chicago, Illinois. 



Patents 



WANTED IDEAS. WRITE FOR LIST OF 
Patent Buyers and Inventions Wanted. 91,000,- 
000 in prizes offered for inventions. Send 
sketch for free search. Our four books sent 
free. Patents secured or Fee Returned. Victor 
J. Evans & Co., 763 Ninth, Washington, D. C. 



Business Chances 



ADVERTISE — 20 WORDS IN 100 MONTHLIES, 
$1. Cope Agency, St. Louis. 

GET CASH FOR NAMES, IDEAS, FORMULAS, 
information. Turn what you know, see and hear 
into money. Booklet free. Information System, 
250, Marietta, Ohio. 



Telegraphy 



TELEGRAPHY— MORSE AND WIRELESS — 
Also Station Agency taught. R. R. and Western 
Union Wires and complete Marconi Wireless Sta- 
tion in school. Graduates assisted. Marconi Co. 
employs our wireless graduates. Low living ex- 
penses — easily earned. Largest school — estab- 
lished 40 years. Investment, $25,000.00. Corre- 
spondence courses also. Catalog Free. Dodge's 
Institute, Peoria St., Valparaiso, Ind. 



Help Wanted 



GOVERNMENT POSITIONS PAY BIG 
money. Get prepared for "exams" by former 
Government Examiner. Booklet free. Write to- 
day. Patterson Civil Service School, Box 3017, 
Rochester, N. Y. 

WANTED— MEN TO GET MEMBERS AND 
establish lodges on commission basis for the 
Owls. South Bend, Indiana. 

$250 FOR RELIABLE MAN OR WOMAN; 
distribute 2,000 free pkgs. Borax Powder with 
Soaps, etc., in your town. No money or ex- 
perience needed. F. Ward Co., 210 Institute, 

Chicago. 

WANTED — CIRCULAR DISTRIBUTORS. 
Send 10c for application contract. Oliver H. 
Barkley, Mount Pleasant, Penna. 

Plays and Photoplays 

ACTORS, MANAGERS. PROFESSIONALS, 
Amateurs — send stamp for catalogue plays, 
vaudeville acts, etc. New York Play Bureau, 
Tremont Theatre, New York. 

SCENARIOS WANTED — NO LESSONS TO 
sell; no commissions: quickest and safest way to 
sell for best price. Editor Scenario Bulletin, 
South Pasadena Station, Los Angeles, Calif. 



Embossers 



BE UP-TO-DATE. HAVE DISTINCTIVE STA- 
tionery. Emboss it yourself. We tell you how 
for two-cent stamp. Miller Sales Company, Lex- 
ington, Kentucky. 

Copying and Typewriting 

PHOTOPLAYS TYPEWRITTEN, 10 CENTS 
per page with carbon. F. A. Pitz, Amana. Iowa. 

PHOTOPLAYS, SHORT STORIES, AND OTHER 
manuscripts neatly typewritten; 10c page. Clif- 
ton Craig, Sedalia, Missouri. 



For Sale 



MOVING PICTURE SHOW FOR SALE. L. H. 
Chappell, Columbus, Ga. 

Games and Entertainments 

PLAYS, VAUDEVILLE SKETCHES, MONO- 
logues, dialogues, speakers, minstrel material, 
jokes, recitations, tableaux, drills, entertain- 
ments. Make up goods. Large Catalog Free. 
T. S. Denison & Co., Dept. 76, Chicago. 



Miscellaneous 



BOOKKEEPERS — WRITERS' FINGER TIP 
and Nail Protectors prevent Ink-smeared fingers 
and smudged work; 15c set, postpaid. Institute 
Mfg. Co., Dept. 14, Akron. Ohio. 

TELEPHONE BRACKETS FOR ALL CONDI- 
tions, best made. Write us. Representatives 
wanted. Skelley Bracket Co., Cleveland, Ohio. 

OUR NEW BUFFALO GREENBACKS ARE 
perfect. Flashy roll 10c. Gilnovco, Morgan 
Park, Station P. Chicago. 

STYLISH VISITING CARDS. SEND 10c FOR 
samples and see your name written finest you 
ever saw. A. P. Meub, Expert Penman, R. 2, 
Pasadena, California. 



NEW SCIENTIFIC 
WONDER 




Price ISc. Silver only 
MARVEL MFG 



X-RAY CURIO 

DAYS here's what you 
DV I w want.You appar- 
ently see thru Clothes, 
Wood, Stone, any object. 

See Bones in Flesh. 

CO., Dept. 86, New Haven, Conn. 



Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



Printype Your Plots 

On this Brilliant New Oliver "Nine" 



And Make Money 

As Local Oliver Agent 

Here is your chance to make a 
valuable connection with a big con- 
cern that offers top pay to someone 
in every community who'll help sup- 
ply the wide-spread demand for this 
sensational typewriter — the new 
model Oliver "Nine." 

Oliver was first to introduce visible 
writing. Then experts thought we 
had reached the summit of achieve- 
ment. Yet each model Oliver — fa- 
mous in its day — was only a step 
toward this crowning triumph. 

Own a Sample 

You don't have to change your business 
to handle this dignified agency and acquire a 
sample Oliver "Nine" on the same liberal 
agency terms as others. You can use it for 
writing film plots, short stories, letters, songs 
and verse. And we will agree to include 
without extra cost our famous PRINTYPE 
that writes like print. We own and control 
Printype. 

Crowning Features 

The Selective - Color Attachment writes 
directions, notations, etc., in a different color 
from the text or dialog of your manuscript. 
It acts as a check -protector besides, and so 
wins scores of merchants, bankers, etc., who 
know that separate machines to do the work 
of this one built-in Oliver attachment would 
cost as high as $12 to $15 each. 

The Oliver Optional Duplex Shift multi- 
plies speed and makes touch-writing 100 
per cent easier. 

And the touch is one -third lighter 
than the average typewriter. 



Exhibitors, Get 
Printype Slide Films 

Make your own announcements, run 
ads for extra revenue — on Printype Quick 
Slide Films. Any Oliver agent will supply 
them at extremely low prices. Or write 
us for particulars. 



OLIVER 

No. 9 




The Standard Visible Writer 

Exclusive Territory 

When we give so much at the old- 
time price on the old-time terms — 17 
cents a day — you can see why 

Oliver agents prosper as they do. 
Already we've appointed 15,000 
clerks, bankers, merchants, teleg- 
raphers, teachers, professional men, 
students, etc. We have places for 
50,000 more — each an exclusive 
agency that gives the agent the 
profit from every Oliver sold in his 
territory. 

Every day we're awarding new 
places, so don't you wait till someone 
else gets the one that's open in your 
locality. The coupon brings you 
"Opportunity Book " that tells all 
about it. Send it today— it's tree I 

The Oliver Typewriter Co. 

1199 Oliver Typewriter Building, CHICAGO 



Mail This to Make Money 



The Oliver Typewriter Co., 

1199 Oliver Typewriter Bldg.. Chicago 

Send me "Opportunity Book" Free and tell me how to 
get the exclusive agency for the new Oliver "Nine." 



Name . 



Address 1 (506) 



Whcu you write to advertisers please mention PHOTOPLAY MAGAZINE. 



10 



Photoplay Magazine — Advertising Section 



New Way in Typewriting 
Doubles Stenographer's Pay 






What Students Say 

Two Salary Increases 
Within a Year — Due 
to Tulloss Course 
The Tulloss New Way in- 
creasej] my speed and ac- 
curacy in typewriting fully 
100 percent. My salary has 
been increased twice and I 
know that each increase 
whs due to my ability on 
the typewriter. I have 
nothing hut praise for the Tulloss School. 
C. H. Hates, V. S. Engineer's Office, 

New Orleans, La. 

Speed —Accuracy — 
Doubled Salary. 

Am now Chief Clerk to the 
Dept of Parks und Public 
Property. Salary is exactly 
double what it was when I 
took up the study of the 
Tulloss Method. I can only 
say if you desire to increase 
your ability and salary jou 
will make no mistake in 
taking this Course, The in- 
struction is of the highest order. 

Ansa 8. Curbtson, 
109 Hoerncr St., Harrtsburg, Pa. 

Salary Increased 40'' — 
Then 20 '> More — 
Work Far Easier. 
Yours of the 8th. I cer- 
tainly know that the Tul- 
loss Course produces accu- 
racy and speed — t he two 
great essentials of good 

typewriting— and puts the 
student in a position to de- 
mand a highersalary. Since 
writing the letter you saw, 
telling of a 40*^ increase, I have had another 
increase of 20 #>. C. E. Verhall, 

care Martin & Hall, Architects, 

Providence. K. L 
50 Words to 80 — 
$70 Monthly to $150. 
From a speed of less than 
50 words per minute, this 
Met hod quickly enabled me 
to write 80 and over. From 
$70 n month when I took 
up the study, I was soon 
drawing $160— salary more 
than doubled. There is no 
comparison whatever be- 
tween the Tulloss Method 
and the ordinary systems. A. H. Garthxer. 
429 Hawthorne Place, Madison, Wi 

80 Words a Minute — 
25 Increase in fa alary 
This unique method has 
lieen a revelation to me. It 
brought mv speed up to over 80 
worts per minute, and increased 
my salary by over 25%. I be- 
lieve it to be the only typewrit- 
ing instruction that is 
based upon a scientific 
analysis of the phvs- 
u ical facts rela- 
k>« tt&S to the development of expert 
V^p ability. These Kxerclscs will 

Gent/emen-*S }>* benefit the student more than 
_, " ^V X* years of ordinary practice. 

I'ti.-iist- sh'imJ tno X. «v 

your free book VW I. G. HlPSI.EY, 

ali-nii Uir New Way \. jK [452 West 

incurs no obligation on \V*\ J? " ' 

my part. NjP . Chicago, 



Mail to THE TULLOSS SCHOOL 
7591 College Hill, Springfield, Ohio 





Hundreds Formerly Earning $8 to $15 Weekly, 
Now Receive $25, $35 and even $50 with Work 
Easier Than Ever Before. 

A Wholly New Idea 

Why doesn't the average stenographer make more 
money? What is it that holds so many down to long 
hours and hard work at a salary of only a few dollars 
each week. 

In ninety-nine cases out of a hundred, it's because 
they can't turn their shorthand notes into finished 
letters or other typewritten material quickly enough — 
its because they are too slow on the typewriter. 
Results are what count Stenographers are paid, 
whether they know it or not, for the quantity and the 
quality of their finished ivork. 

Talk to any stenographer who is making $25 or more a week and 
he or she will tell you that in large measure the secret of his or 
her success has been speed — great speed — and accuracy on the 
machine. This is getting to be more true each day. Business 
men will no longer put up with slow, bungling work on the type- 
writer. They gladly pay two or three times the former salaries 
to stenographers who become expert typists, because they have 
found it is genuine economy to do so. 

80 to 100 Words a Minute 
Guaranteed 




The Tulloss New Way, radically differ- 
ent from any other system, is conceded 
to be the greatest step in writing effi- 
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writer itself. 

Already thousands of stenographers 
and other typewriter users who never 
exceeded thirty to forty words a min- 
ute, are writing 1 80 to 100 words with 
half the effort and with infinitely 
greater accuracy than they ever could 
before. 

Nothing Else Like It 

Don't confuse this new way in type- 
writing with any system of the past. 
There has never been anything like it 
before. Special gymnastic Finger- 
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ine bring results in days that ordinary 
methods will not produce in months. 

Among the thousands of operators 
who have taken up this system, are 
hundreds of graduates of business col- 
leges and special typewriting courses 
— great numbers were so-called touch 



writers— yet there has not been a sin- 
gle one who hasn't doubled or trebled 
his or her speed and accuracy, and the 
salaries have been increased from $8 to 
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$25, $30, $40 and even $50. 

Valuable Book Free 

We cannot describe here the secret 
principle of this new method. But we 
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envelope — pet tl.is book at once. It will 
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Tear off the coupon now before you turn 
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Not for Stenographers Alone 



The New Way in Typewriting is not for stenographers alone. We are teach. 
in:.* it to ministers, lawyers reporters, advertising men. writers, business 
men — to men and women in every profession who use the typewriter, and it's 
amazingly easy to learn, no matter how little experience you may have had. 



When you write to advertisers please mention PHOTOPLAY MAGAZIXK. 



POPULAR^ 
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MARY ANDERSON 

of the Vita{rr;i|ili, is one of the youngest stars on the screen. She was horn 
in Brooklyn 18 years ago. While in high school she played extras for 
Vitagraph and there got her first real chance, in support of John Bunny. 
She came to stardom rapidly. Miss Anderson is an excellent fancy dancer, 
and was much in demand socially before her screen advent. 



Photoplay Magazine 



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FRANCIS XAVIER BUSHMAN, 

leading man of llic Metro company, ami one of the most popular screen 
idols is a native of Richmond, Virginia, and is about 30 years old. He 
played in stock before going into photoplays. His screen debut was with 
the Essanay company, where he won a wide following. He is a champion 
wrestler, and probably possesses more general athletic prowess than any 
man on the screen. 



Photoplay Magazine 



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m 




WINIFRED GREENWOOD 

is Mrs. George Field in private life. She was a eliild when she first appeared 
OH the stage. First in musical comedy and later in serious drama >he won 
a large following among theater-goers. She has made more than 800 appear- 
ances in pictures and is one of the hest-liked of the Mutual players. Music 
and the study of French are her hobbies. 



Photoplay Magazine 



i5^ 



m 



ess 



i?J 




JlJsHOePlIfi 



L 

15S 



CARLYLE BLACKWELL 

is a native of New York City and a graduate of Cornell University. In 
'"Brown of Harvard" and "'The Right of Way," his stage work attracted 
attention and he was secured hy Vitagraph. With Kalem and The Famous 
Players he scored in many offerings. One of his best efforts is seen in 
"The Puppet Crown," a recent Lasky release. 



Photoplay Magazine 



BE 



im 



lES 




■nan 



JIias£& 



[(53 



VIOLET MACMILLAN 

is one of the tiniest morsels of filmed femininity. She is three inches shy 
of five feet and weighs but a hundred pounds. She was born in Grand 
Rapids. Michigan, and the public first saw her as Dorothy, in "The Wizard 
of Oz." Her screen advent was as the Oz fairy. "Our Baby" and "Out 
of the Dark," Universal photodramas, are among her most recent pictures. 



Photoplay Magazine 



m 







=TOBggggHll 



ISV, 



FORD STERLING 

is a graduate of circuses and dramatic stock companies. His fir.-t stock 
engagement was at the Columbus Theatre in Chicago. Following that he 
was in several musical comedies, and also in vaudeville. He broke into 
the movies in the Biograph comedy company when Sennett was manager. 
He followed Sennett to the Keystone. He is about thirty years old and 
was born in Wisconsin. 



Photoplay Magazine 



SE 




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WILLIAM GARWOOD 

was born in 1886. in Springfield, M<>., and made his first dramatic appear- 
ance with the Elitch's Gardens stock company. Denver, in the summer of 
1903. Mr. Garwood made his screen debut in November, 1910. with the 
Thanhouser company. He came to the Majestic, Los Angeles, two and one- 
half years later. Mr. Garwood is tall, dark, is fond of swimming, and when 
asked if married replies emphatically, "Never!" 



Photoplay Magazine 



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liraas^sSSJII 



JLiV 



TSURU AOKF, 

an Oriental jewel on the Inee side of Triangle, is 22 years old, and was 
horn in Tokyo. She came to America with her aunt and uncle, Suda Yaoco 
and Otto kuwakami, noted Japanese player-, and attended school at Pasadena. 
She is married to Sessue Hayakawa, who recently made u great success 
with Lasky, in "The Clue." 



fashions 

5 ^O 

and 



s 



tk, 



e 

creen 



Illustrations with article 

by Lillian Howard 

in this issue 



5 



Miss Pickford' 

simple all-white 

street costume 

is of broadcloth, 

wima hat of 

white felt. 

It was made 

after me actress' 

own design, 

by her tailor. 



Photo by 
McClurc 






French 

evening gown of 
Kings Blue chiffon; 
embroidered in 
gold over 
flesh-colored satin. 
This is 

Miss Frederick's 
own importation, 
and has 
just arrived 
from Paris. 



Photo by 

HcClnre 




Dancing frock 

in yellow 

Pompadour silk, 

closely reflecting 

the i860 period, -witk 

black velvet piping 

and cream lace ficKu. 

Designed 

by Lorber. 



Photo by 
McClun 




ocz~z~ r. v.:: : : ::::: ~ ~ n 





Here is a 
Lanvin model 
of cadet blue 
broadcloth with 
military braiding. 
The war influence 
shows strongest in 
the Italian soldier's 
( "Bersaglieri" ) 
helmet in 
black velvet, 
•with coque feathers. 
Designed 
by Giddings. 



Photo by 
McClure 



HI ml h >i it tnnnf »vpn^>iz^nna: 




'This is anotKer 

Giddings model, 

after Bernard, 

in old red 

camel's hair serge, 

witn skunk fur. 





t 





An all-white 
dansant frock of 
chiffon over net, 
with scalloped 
cordings and 
bolero bodice. 
Designed 
by Lorber. 



Photo by 
McClurc 




An evening coat 

of white velvet, 

lined with 

white satin and 

bordered with 

white fox. 



I'lioto by 
McUurc 




Jane Miller in a velvet flesK-colored 
evening gown, with High-waisted 
bodice and ostrich corsage. By 
Stern, after a design by Miss Miller. 



Photo by 
Ira Hill 



November, 1915 




Fashions and The Screen 



ACTIVE PHOTOGRAPHY IS NOW A 
CREATOR, NOT A REFLECTOR OF STYLES. 

By Lillian Howard 



EDITOR'S NOTE: — Thirteen million pairs of eyes are focused on the 
screens of this country every day, and it must be acknowledged that this 
powerfully affects modes as well as manners. Each illustration accompanying 
this article was especially posed for Photoplay Magazine. 



AGAIN the film stage scores. 
The world of fashion looks to 
the actress of the screen in her 
newest gowns to bring home the 
latest modes to women of all parts. An 
influence in manners and morals, the femi- 
nine world acknowledges the debt to the 
screen for modes and customs. 

With color to aid the speaking stage, 
line alone must suffice the screen actress as 
she is shown getting in her limousine, en- 
tering the restaurant and receiving in the 
drawing room. What follows but that the 
picture actress on and off the stage guides 
the fashionable world. 

When Paris dressmakers introduced the 
new fall and winter all white street cos- 
tume, what stronger proof that it will have 
a vogue than that one of the loveliest and 
best known actresses of the film world ap- 
peared on Fifth avenue the other day in a 
chic tailored model of white broadcloth 
with white felt chapeau and white suede 
boots, all white from top to toe? 



Color, however, and vivid color at that, 
promises to play her part in street suits 
this season. Along with suits in the staple 
midnight blue, tete de negre and black, 
comes an occasional enlivening costume of 
forest green or vieux red, the latter a lovely 
soft shade becoming to most every type of 
coloring. 

Ideas from Italian military uniform de- 
tails we have with us. As a compliment to 
the latest newcomer to cast her lot with 
the allies, the French designers have intro- 
duced the velvet helmet with its chin strap 
and crested plumage flaunting backward in 
the breeze. 

With France and Russia fighting in the 
same cause, Russian modes will be even 
more than usually emphasized, but Paris 
has sounded the Russian note so often in 
recent years that there seems little that 
can be found new and striking in tunic 
lines and fur bandings. 

Fur is in evidence in all the new winter 
suits. But the rolling or wide flat collar 



27 



2S 



Fashions and the Screen 



of last season has given way before the 
close fitting standing one, another conces- 
sion to military influence. 

Of course the war brought belts into 
prominence as it did pockets. The design- 
ers were quick to grasp the garnishing 
possibilities of both- of them. The newest 
belts for street suits are of black patent 
leather piped narrowly with white or color. 

Every little while France launches white 
cloth and white fur. Both are in vogue 
this season. White fox stoles wrapped the 
shoulders of young and old alike through 
the past summer, regardless, ofttimes, of 
any sense of fitness, or even discretion. 

Possibly the rumor that we were short 
of dyes may have influenced the Paris 
couturier in launching the white suit which 
he lias done in broadcloth rather than the 
woolens, the mills for the latter being out 
of commission. 

As to the materials for the fall tailor 
costumes, the new duvetyn, of promise for 
better wearing qualities than that of last 
season, is more popular than ever. Wool 
velour, too, is well liked. A new and 
lovely suiting is camel's hair serge, which, 
as its name indicates, is a pliant serge with 
a soft, downy haired surface. 

The all velvet evening gown promises 
to be par excellence. The newest modes 
from the big houses here and abroad show 
little trimming used on this type of gown, 
which relies for distinction on its lovely 
material and excellent line. 

( )n the other hand, the French are mak- 
ing great use of embroidery on street cos- 
tumes of serge and velvet. It is easy to 
understand this, when one considers the 
enormous number of needlewomen in des- 
perate need of funds. With the men folk 



at the front so few avenues of resource are 
open to the women from whom many in- 
dustries are now closed. 

Dancing frocks show the 1860 period in 
their designing of fitted bodice and volumi- 
nous skirts. The embroidered flouncings 
of the past season are carried out in taffeta 
gowns with scalloped flouncings often 
bound in a narrow edging of black velvet. 
The tight bodice with its Y-shaped opening 
lends itself to the quaint fichu of deep 
creamy lace caught with a brooch of old- 
time design. 

The new 1860 style of gown seems to 
have lengthened by several inches. Other 
costumes the Parisienne wears in two 
lengths. The costumes continue daringly 
short ofttimes. especially when worn with 
the very high boots of colored kid. How- 
ever, with filmy frocks of net and light 
silk, slippers or low shoes are worn and the 
dress stops but an inch or two above the 
ankle. 

Without doubt, the Russian boot is to 
have a decided place in the ultra smart 
wardrobe. ( )ne actress noted for her smart 
gowning has ordered no less than eight 
pairs of these Russian boots. Soft black 
patent leather, and patent leather combined 
with mouse colored suede form some of the 
models, but for winter wear she has in- 
cluded several with wide fur banded tops. 

The teagown. or glorified negligee, is an 
important adjunct to the well ordered 
wardrobe. ( )f ten it is more costly and rich 
in material than the evening gown itself. 
One model just designed by a specialist in 
negligees is in rich metal brocaded silk 
with soft chiffon draperies which set off the 
bewitching beauty of a- petite golden-haired, 
violet-eyed star. 



The Comedian 



I— ]E enters, with his childish look 

* ■*• That shows no single trace of guile ; 

With curly head and comic walk 

That force each one who sees to smile. 



And sitting there, he takes a book 
And for a minute thinks to read, 

Then casts it through a window-pane: 
A stranger's hit — he does not heed. 



He waves a greeting to a friend. 

And brings the dishes crashing down : 
He tries to pick them up and falls. 

And sits there with a funny frown. 



He rolls about upon his head ; 

In wondrous knots he tries to fold — 
Xo. this is not a Chaplin film. 

But just my son, who's twelve months old. 



"Once the 
worshipped 
heroine. .." 



V % 



0* 




"Now a 

synonym 

for sin." 




The Crimes of Cleo 

PSYCHIC IMPRESSIONS OF AND 
HOPES FOR AN ARCH-VILLAINESS 
WHO IS ALSO SOME PEACH 

By William M. Henry 



III AVE the word of no less an author- 
ity than the Irrev. Billy Sunday, that a 
life of crime is usually not the result 
of a gradually growing tendency to- 
wards wickedness but rather a sudden 
plunge into iniquity. 

And for an example my authority might 
point an accusing finger at lovely Cleo 
Ridgely, once the worshipped heroine of 
thousands and now, within six months, be- 
come a .synonym for sin. 

For several years Miss Ridgely had been 
building up an estimable reputation for jus- 
tice and righteousness. 

As the "Girl Detective" in a Kalem 
serial she had triumphed again and again 
over the forces of evil. In dozens of west- 
ern pictures she had saved her father's cat- 
tle from the marauders, protected her inno- 
cent lover from the machinations of the 
villain, and performed other equally heroic 
deeds. 

Certainly she had everything in her past 

life to urge her onward and upward — yet 

suddenly as the nensea of a tropic 

volcano, she has sunk into a quagmire of 

transgression calculated to make William 



J. Burns shiver and call for smelling-salts. 

She has become a kleptomaniac, who. 
when caught red-handed, drops her stolen 
goods into the pocketbook of an innocent 
girl, sending her to jail and condemning 
her forever to the curse of felony. 

She has returned and haunted people 
whom she has wronged. 

Her fingers have pointed out the hiding 
place of her lover to the police, and, with 
a strawberry sundae smile, she has seen him 
shot dead, killed and croaked before her 
very eyes. 

She has deserted her home snd her fam- 
ily to go on midnight carousals with un- 
questionably questionable friends. 

She has entered the bungalows of her 
personal intimates, and has been received 
by them as such, only to break up said 
happy homes by her seductive lamps and 
laugh. 

It all looks so impossible when vou see 
her. 

At first glance she doesn't resemble 
either Mrs. Guinness or Zaza. 

She is blonde as a clear dawn, with baby 
grey-blue eyes and a dimple so deep that 

29 



30 



Photoplay Magazine 




'In a flask, the blue eyes become wicked emerald.' 



you'd think some one 
had shot her with a 
kiss. Her teeth are per- 
fect and her nose, a lit- 
tle retrousse, gives her 
a look of agreeable 
mirth. 

You see she has 
charms. But you would 
never suspect her of 
using those rose-and- 
cerulean advantages a 
la co-respondent. 

V u haven't heard 
her voice ! It is low 
and very melodious. 

Something in it re- 
minded me of the con- 
tented purr of a cat. 
Low and sweet and 
very pleased, but the 
claws are liable to leap 
out of the velvet on the 
slightest provocation. 

Ladies and senors, 
let us return to those 
eyes. 

A second look shows 
that the frank blue- 
greyness of them can. 
swiftly as the stroke of 
a submarine's (1 o d- 
bless-you, change into 
a tinge that is Niagara 
green. 




-a dimple so deep that you'd think someone 
had shot her with a kiss." 



A s Bishop Sunday 
has it, "those who have 
within them the great- 
est power for good 
have at the same time 
the greatest power for 
evil." Selah. 

In a flash the blue- 
grey eyes become 
wicked emerald. A fur- 
row like a trench ap- 
pears between them. 
The smiling lips and 
the smiling teeth 
change to a red gate 
barred by an ivory 
portcullis. The mirth 
in her expression cor- 
rodes. 

Then you notice that 
her jaw is heavy ; that 
her shoulders are 
square and powerful ; 
that all the lines of her 
are steely hard. 

Her hands are won- 
derfully expressive. 
They reflect her feel- 
ings in the same way as 
her face. 

They are small and 
well moulded. Like her 
shoulders and her jaw, 
you do not notice them 
when she is smiling 



The Crimes of Cleo 



31 




"Only to 

happy and beautiful. 

But when the iron 
creeps into her face, it 
harveyizes her hands, 
too. Then you notice 
that they are wonder- 
fully muscled. They 
are strong and vise- 
like. 

If Cleo Ridgely were 
to wear a mask over 
her whole body with 
the exception of her 
hands. I believe that 
she could act a part 
and express herself 
with them alone. 

On the whole, this 
she-tigress i s as she 
should be: Beautiful 
and dappled and vel- 
vet limbed, yet with 
dynamic muscles rip- 
pling under her smooth 
skin a n d expressing 
her sudden changes of 
temper to the minutest 
degree. 

I'h is is not the story 
of a wanton. Rather, 
it is the slow-music 
melo. "No Mother to 
Guide Her." Krime 
Kleo was misled ; she 
still hopes for the day 



break up said happy home by her seductive lamps and laugh" 

when she may resume 
her pilgrimage upon 
the straight and nar- 
row Erie of Righteous- 
ness. 

Cleo's aspirations arc- 
far and away from 
these sinister parts. 
Even now she shudders 
at her black trade be- 
fore the sarcastic direc- 
tor and the ennuied 
cameraman. 

"It's awful," she 
confided to me "to go 
to see yourself on the 
screen and to come to 
hate yourself. It's ter- 
rible to hear the com- 
ments around you. I 
remember a scene in 
my first heavy part in 
'Stolen Goods,' where 
a bomb exploded near 
me and the smoke ob- 
scured me from view 
momentarily. I was 
sitting in a dark cor- 
ner looking at the pic- 
ture a n d a woman 
leaned over to me and 
hissed, 'I hope it killed 
her.' I just know she 
was sincere." 

She could act a part with Iter hands and T . „„„„» t_ *„„j. 

express herself with them alone." *■*■ Cannot Ue tlw 




32 



Photoplay Magazine 




"She rushed to the relief of the tired business man; that is, she enlisted in a chorus. " 



Cleo's environment did the fell work and 
condemned her to these "hellbird" parts, 
for Cleo was brought up under the innocu- 
ous and refining influence of a Wisconsin 
farm, whither she had been sent following 
the death of her father and mother while 
she was very young. 

On the farm she led the placid existence 
of the (real, not dramatic) country girl, 
but at length her high spirits got the bet- 
ter of her and she began shocking the 
community with circusy feats on horse- 
back. When the pious neighborhood began 
to express its disapproval, the high strung 
young lady bid the cows and the hay and 
the farm a moonlight farev\ell and rushed 
to the relief of the tired business man ; that 
is, she enlisted for the stage in a chorus. 

What she did. she did well, and as a re- 
sult she was soon touring the country with 
shows of more or less noteworthy character. 
Later she jumped straight into leads with 
the Kalem Company, at that time located 
in Florida. 

Her whole existence was one of Christ- 
mas bliss, for she was a pampered heroine 
throughout her Kalem career. Ingenue 



parts and straight leads were her life. 

Then, as Lucifer fell out of the classic 
heaven which bored him. so she took it into 
her Iread to do something really devilish, 
and, as the result of a wager, started 
across the continent on horseback. It took 
her eighteen months to make it, stopping 
and playing at theaters along the way. but 
she finally reached Los Angeles. 

Here she resumed her work with Kalem. 
doing Out West parts of the most wild and 
woolly character until she fell under the 
eyes of the Lasky talent sleuths. 

Here began her fall. Who shoved her 
off the cliff is not known, but he saw in the 
dashing Kalem heroine a real arch-vil- 
laincss. 

Like a shot she was signed to a long con- 
tract. She was put on the job at once, 
taking the part of Helen North in "Stolen 
Goods," where she played opposite Blanche 
Sweet with great credit to herself. 

Later she shared honors with Laura 
Hope Crewes in "The Fighting Hope" and 
played fiendish parts in "The Puppet 
Crown." "The Secret Orchard," and "The 
Marriage of Kitty." 




They Burn Up Roads Around Los Angeles 

When Blanche Sweet isn't pouting, crying, or otherwise emoting in the Lasky studios she's 
probably out whirling her big Italian car through the incense of orange blossoms on the beautiful 

Calijornia highways. 

33 



Geraldine Farrar as Carmen; Pedro de Cordoba as EscamiUo. 



EDITOR'S XOTE: — "Carmen" is one of the great love-tragedies of the literary 
ages. Written by Prosper Merimee, it achieved much popularity as a novel, but 
its world fame waited upon the opera of the same name, by Georges Bicel. In point 
of performances, and demands for performances in all countries, "Carmen" is prob- 
ably the most popular music-drama in the world. The most-discussed im- 
personator of the title-role since Emma Calvc's practical retirement from 
the operatic stage is Geraldine Farrar, and it was Geraldine Farrar whom 
Jesse Lasky, aided by Morris Gest, induced to perpetuate her character on 
the screen. There are slight variations, only, from the operatic version in 
the Lasky film. Mr. Sheridan, in his careful retelling of this story, has follo'wed 
Mcrimcc's salient points, but has bent his plot and incidents to the pictorial version. 
The illustrations arc from the Lasky film, whieh will be publicly shown next month. 



M 



C A R M E N 



A TROPIC TRAGEDY 
OF OLD SEVILLE 



By John Sheridan 



Yi 



OU say that Don Jose will guard 
the breach in the city wall tomor- 
row night. Carmen ?" 

'You heard me. Pastia." The 
untamed-looking girl puffed her cigarette 
and glanced half contemptuously at her 
questioner. He was a bent old man with 
a matted heard and a crafty eye. The two 
otiiers at the (able were straight, slim men 
with the swarthy skins of gypsies. 

"Hut can you bend this Jose to your 
will?" Daucaire, his silver coin earrings 
glittering dully in the dim light, bent for- 
ward, lie talked freely, for as yet there 
were hut few patrons in Pastia's tap-room. 
"The English goods have been landed on 
the coast and Kemendado is only waiting 
for the word to smuggle them here into 
Seville. So far as money goes this Jose of 
yours is incorruptible. Three months ago 
we tried to bribe him and — " he 
— "our hand is poorer by Juan." 

"That was before I came!" 
threw hack her lace mantilla, 
smooth dusky shoulders. Her 
dress was of satin and lace and 
with sequins. There were acacias in her 
low corsage and gold jingled on her wrists. 

Dancaire laughed silently, his teeth show- 
ing even and white. 

"True for you. Spitfire. If it weren't 
for you I don't know how we would ever 
make an honest living. But do you think 
your amorous Spanish dragoon will let us 
through tomorrow night?" 

The girl tossed away her cigarette and 
clicked her castanets irritably. 

"Who knows? He's been in quod twice 
for me already, and he looks at me like a 
hungry cat before a locked larder. Sup- 
pose I should open it I Quien sabe?" 

Dancaire laughed again his silent laugh. 

"Good! You've done well. Carmen. 
Garcia," — to the fourth man — "go through 
to the coast tonight ami tell them to start 
the goods up. We'll take the risk." 

Garcia drained his glass of Amontillado 



hrugged 



( 'armen 

exposing 

dancing 

"littered 



and rose witli a wide leisurely yawn. 

It was a mean room, low, with cob- 
webbed rafters and stained, cracked walls 
ornamented here and there with cheap 
chromos. At one end a rickety staircase 
led upwards, and the rush-covered earthen 
floor was set out with sloppy tables and 
three-legged stools. The air was blue with 
tobacco smoke and rancid with the smell 
of grease, for Pastia's fritters and fried 
fish were famous. 

Of late the tavern on the outskirts of 
Seville had enjoyed much evening patron- 
age. The fame of Carmen's dancing had 
spread, and the place had become the 
mecca for young army officers and dare- 
devil blades from all walks of life. 

Two tables had filled while the smug- 
glers talked. As ( larcia pushed his wax- 
out he passed a newcomer, a man as slim 
and lithe as a Toledo blade. Of pale, pure 
olive complexion, he wore a cape of em- 
broidered silk over one shoulder, a suit of 
costliest velvet, white silk h;>se and shoes 
with silver buckles. Proud of bearing, he 
strode through the evil-smelling murk 
straight towards Carmen. 

"Escamillo! The great toreador who is 
going to light in the bull-ring here," ran 
the whisper. "He comes every night to 
see the gvpsv. He has loved her for a 
year." 

"Has she given herself to him?" 

"Ha! Not she! She has only given 
herself to the devil. How else could she 
have bewitched him?" 

The bull fighter bowed low before the 
girl, and she, jumping up. mockingly imi- 
tated him. Then they sat down laughing. 
Hut another whim seized her. From a dish 
on the table she took a confection, a shell 
of meringue filled with sweets, and 
smashed it against the wall. 

"Curse the flies," she said, "let them go 
there and leave us in peace." 

He laughed. 

"Why Stay here devoured by flies? Come 



36 



Photoplay Magazine 




Warningly he drew his knife — "I've paid my 
and you're going to pay yours!" 

with me and you shall live like a queen. 
Instead of one dress of silk and lace you 
will have a dozen. And your own horse 
trapped with silver, and a volanta lined 
with brocade. And a servant to wait on 
you like any grand lady. Ah I" he laughed 
again and covered her small brown hand 
with his as he saw her eyes glow, "you like 
the prospect, eh?" And turning to the 
innkeeper who still sat at the table, "Pastia, 
your gvpsv vixen will be a princess in 
Seville yet!" 

The old man looked keenly at the girl 
from beneath his thatch of eyebrows and 
caught her eye. 

"Not yet," he said. "Her beauty is in 
service now. Ah, senor. don't misunder- 
stand," he added hastily at Escamillo's 
swift frown. "For no man. but in our 
affairs, our gypsy doings. Perhaps later, 
but not now." 

"Always your gypsy doings!" the Span- 
iard growled, and paused. "But I will 
wait this once. . . . This once only." 

The tavern' door swung open and two 
young men in the blue tunics and plumed 
helmets of dragoon officers strode in. their 
spurs clinking. One was small and clapper. 
with a waxed mustache and bright, darting 
eyes ; the other of commanding appearance. 



and almost boyishly handsome. 

"Let's sit here, Jose," cried the 
former, selecting a table near the 
middle of the room. "It's the best 
place to see her dance." 

At their entrance Carmen had 
whispered to Kscamillo. and now 
she rose and drifted languidly 
towards their table. One hand on 
her hip, a flower between her 
teeth, she seemed scarcely to walk, 
but moved rather as if by some 
serpentine agency of her supple 
body. At the table she stopped 
and, leaning upon it. looked down 
steadily into the rapt face of Don 
Jose. Morales twirled his pointed 
mustaches fiercely and addressed 
her, but she ignored him. 

Jose gazed up scarcely breath- 
ing, his handsome face pale. To- 
night, as always since that noon 
at the cigarette factory by the city 
wall when he had met her first, he 
price f e 't tne completeness of her fasci- 

nation. And not only that, but the 
dread of it. In her provocative- 
ness was something sinister, just as in her 
beauty there was a hint of wildness and 
savagery ; a gleam at once vulpine and 
volputuous in her eyes ; a suggestion of the 
serpent in the sinuous grace of her body 

Conscious of the completeness of her 
triumph, Carmen sat down beside Jose, 
shutting off Morales with a bare brown 
shoulder. 

"For all your goggling like a fish, my 
officer, I believe I love you a little." she 
whispered, her face close to his. "And a 
little can grow! Some night — who knows?" 

Morales squirmed in his chair and cursed 
with fury. For a week he had been trying 
vainly to make his presence felt. 

But Don Jose, drunk with the elixir of 
her nearness, caught her hand and kissed it 
passionately, his eyes crying out what his 
dumb lips could not speak. But with a 
"I. a la! Have you no respect for a girl's 
virtue?" she snatched her hand away and 
sprang up. and ran to the middle of the 
room, where Dancaire and another gypsy 
were already plucking at guitars. 

"Ah. she's going to dance I" The word 
went round the room and silence fell. 

"The fiend take her!" snarled Morales 
under his breath. "With your luck, Jose, 



Carmen 



37 



I could marry a princess of the blood ! Oh, 
well, she's only a cigar girl." 

11 
r\o\ JOSE NAVARRO had military 
*-* ambitions. A native of the Basque 
country, he had fled to Seville following a 
quarrel, and had enlisted as a trooper in 
the Andalusian dragoons. Of good blood, 
he had soon won promotion and lie looked 
forward not without reason to a commis- 
sion. 

But tonight as he stood on guard at the 
crumbled breach in the outer wall of Se- 
ville, the past and future were alike forgot- 
ten. Only the present mattered, and each 
moment of it throbbed with his consuming 
passion for Carmen. 

The cathedral bells chimed distantly. 
Eleven o'clock! Now she must be dancing 
at Pastia's. Morales was there, and Ksca- 
millo, watching her. feasting their eyes 
upon her beauty. Jose's hands tightened 
on his gun. And lie was here anchored to 
these crumbling stones! 

It was a perfect night with a full moon, 
and a soft warm breath of wind which 
brought the scent of flowers, and rustled 
the palms in the nearby gardens. Dimly 
then he saw a figure approaching. The 
breach, a gaping hole made by time in the 
old defences of the city, was guarded con- 
stantly against smugglers, and Jose chal- 
lenged the advancing unknown. 

"Halt! Who goes there?" 

"Ah!" said a soft voice. "Is that you, 
my officer?" and Carmen let fall her man- 
tilla and faced him, her beauty ravishing 
under the clear moonlight. 

"Carmen I" he breathed, am 
went toward? her. To find her 

Carmen leaped to a bench, an olla poised 
above her head to strike the doomed man 
if Jose's attack failed. 



here near him even as he had dreamed of 
her ! She did love him then ! 

"Did I not say that perhaps some night 
— ?" She looked up at him. arch, alluring, 
seductive. With a little cry he stretched 
out his arms to her, but she held him off. 

"No. not here. We can be seen here. 
Come!" and she pointed the way along the 
wall towards a shadow cast by a great 
bastion. 

Aware that he was failing in his duty, 
still he followed, swept on a tide stronger 
than himself. In the shadow she yielded to 
his arms with a glorv and abandon of pas- 
sion that dazed him. Then, even as he 
held her. through his swimming senses he 
became aware of shadows slipping silently 
through the breach — men and animals 
heavily laden. 

With an oath he flung her aside and 
started back. But in an instant she was 
beside him, her soft brown arms stealing 
about his neck, her ripe, moist mouth 
seeking his. 

"Oh, Jose, love me, love me," she 
pleaded, and the great wave of ecstasy- 
flooded over him again, engulfing him. 




38 



Photoplay Magazine 



Oblivious of honor and duty, of everything 
except that moment's delirium, he yielded. 

The smugglers went unmolested into the 
city that night. 

For hours after she had gone the glory 
of his dazed rapture clung about him. It 
was with him still when, next morning, 
sleepless he paced up and down before his 
regimental barracks across the street from 
the great tobacco factory where Carmen 
worked. He was waiting here as he waited 
daily, for the instant's glimpse he would 
have of her at noon. 

It was nothing to him now that he had 
let the smugglers pass. Possible court- 
martial, a ruined future, both seemed the 
puerile terrors of some bygone existence. 
He could think only of bliss past and 
greater bliss to come. 

Then suddenly, as he dreamed, a 
woman's terrified shriek rang out from the 
humming factory across the way, followed 
instantly by another and another. A mo- 
ment later the frightened tumult had 
swelled to a howling pandemonium, and 
women commenced to pour into the street. 
The first of these, catching sight of Jose, 
ran to him. 

"Jesu Maria, senor officer, quick ! The 
gypsy will kill her!" she screamed, and 
Navarro became galvanized into action. 

Ordering a couple of troopers to follow 
him, he ran to the factory. Forcing his 
way through the crowds of half undressed 
women that surged 



"Jesu 

Maria, 
Senor 
Officer, 
quick ! 
The gypsy 
wilt kill 
her!" 



and milled among the cigarette tables, he 
finally reached the centre of the trouble. 
Carmen, tobacco cutter's knife in hand, was 
slashing savagely at the face of a girl 
whom she had thrown backward across a 
table, and who in turn was clawing and 
biting like a tigress. 

Jose and his men separated the pair and 
he investigated the quarrel. He found a 
clear case against the gypsy. She had first 
threatened and then attacked the other, the 
chattering girls declared. There was but 
one thing for him to do. He arrested her. 

With a swift glance of recognition, she 
let herself be disarmed and went between 
the soldiers. At the barracks the Com- 
mandant would not dismiss the complaint 
and remanded her to await trial, assigning 
Jose and his two dragoons to take her to 
prison. 

As they marched through the dirty, 
tortuous streets, the blinding sun of the 
Spanish noon beat down upon them. On 
either hand were open shops, above which 
were grated and balconied houses of multi- 
colored plaster. Laden mules and rattling 
voluntas crowded them, and hucksters 
against the walls- sang their wares in a 
dozen keys. Men stopped on the street to 
see the gypsy pass, and ragged gamins 
hurled epithets after her. But with her 
mantilla drawn up to her eyes and queenly 
head held high, she walked proudly and 
disdainfully through it all. as if the dirt 
and shame and squalor did not exist. 

At last they came into familiar ways, the 
winding course of Serpent Street, and 
I. i 1 1 a s l'astia's 
tavern. The girl 
B^ stopped be- 
fore the 
hovel. 

" M v 
J o s e," 




Carmen 



39 




With a swift glance of recognition, she let herself be disarmed. . . . She begged softly : " Grant 
me this favor. Let me speak with Pastia. " 



she begged, softly, "grant me this one last 
favor. Let me speak with Pastia. If I 
must go to jail, there is much for him to 
do." 

Jose hesitated. His orders did not per- 
mit this. Then he looked at her with the 
eyes of his love, and saw her tragic, frail, 
a pitiful thing in the merciless clutch of 
the law. He yielded to the pleading in her 
eyes. 

*'l will go with you," he said, and or- 
dered his men to stav outside. 

Pastia was about the place and one 
officer, flushed and dishevelled, who tot- 
tered to his feet as Carmen entered. Jose 
saw that this was Morales, little and more 
venomous-looking than ever after a night's 
debauch. 

"Ho, what's this?" he demanded with a 
leer. 

Jose told him, and Morales scowled 
evilly, swaying on his feet. He had not 
forgotten Carmen's rebuffs and preference 
for Jose. 

"Taking her to jail, eh !" he demanded. 
"Then what are you bringing her in here 
for?" A sly sneer spread across his face. 
"Ah! for favors promised — eh? — perhaps 
an open window — an escape — " 

With an ugly oath Jose swung his gloved 



hand and struck the other across the cheek. 
"You damned scoundrel !" he grated. 

Morales' face grew convulsed, and with 
a scream of rage he drew his sword. Car- 
men leaped to a bench, an olla poised above 
her head, to strike the doomed man if the 
attack of Jose failed. Morales stumbled, 
and the loss of a precious moment was 
fatal. He recovered his footing, but Jose 
met him as he came in. caught the upraised 
arm with one hand and closed the fingers 
of the other about his throat. With a swift 
turn he bent him back across one of the 
greasy tables and tightened the pressure of 
his fingers until the bloodshot staring eyes 
commenced to glaze. Carmen, with arms 
folded, and cruel, sneering lips, watched 
Morales' dying struggles triumphantly. 

Hut when at last the red blindness of 
Jose's fury had passed, and releasing his 
grip he looked down with da/.ed terror on 
the thing he had done. Carmen was gone. 
An open rear window offered mute proof of 
her escape. Then as he began to compre- 
hend this fresh disaster, Jose heard Pastia 
shuffling beside him, and the old man's 
breathy voice. 

"Well, you killed him. Neat, too; not 
a sound. Now you're blooded. We need 
men like you. Kb? courage! Courage! 



40 



Photoplay Magazine 




The Fiesta came at last, and all Seville arose early. . . . The bright sashes and striped ponchos, and the 
multitude of flowers gave kaleidoscopic effects in the dazzling sunlight 



They all feel that way after the first one. 
I'll dispose of this. You're done for here. 
Lay low till the storm blows over. I'll 
take care of vou. Then for the mountains 
and the free life, eh? eh?" 

Jose scarcely comprehended what he said. 

"Yes, yes — For God's sake, Pastia! 
Hide me. don't let them get me! Ah, what 
have I done — for her ! Everything is gone 
now. She is all I have — all." 

Ill 

""THE camp was in a little green valley 
lost among the tumbling mountains 
of the coast. There was a stretch of emer- 
ald grass and stunted pines : a clear, ice- 
cold stream chuttering over the stones ; air 
keen and sparkling in the sun ; and high on 
every hand snow-capped peaks soaring high 
into the blue. Tents and smoking fires, 
and mules grazing among the piles of 
goods were the signs of human presence. 

Carmen in her favorite, costume of 
chemise, ragged red skirt, and torn white 



stockings, lolled back indolently upon a 
bale of smuggled goods. 

"I'm tired of it here." she told Dancaire, 
"and I'm not going to stay. I have a fancy 
now to be a great lady." 

"Ah," he guessed. "Escamillo?" 

Dancaire's tone was without protest. 
The girl obeyed no one. She went and 
came as freely as the air. 

"Yes. I have sent Manuel, the one-eyed, 
to tell him to come here after me. I think 
I should like to be the senorita of the great- 
est toreador in Seville, to wear silk and 
laces and live in a fine house. It will amuse 
me, And Escamillo is not a bad fellow." 

Dancaire puffed at his cigar and spat. 

"What of this soldier, this Don Jose?" 

The girl yawned luxuriously, stretching 
her arms above her head and revealing the 
soft curves of her fine bust. 

"By the saints I hope I've seen the last 
of him ! He's too stupid. Instead of man- 
aging a clever escape for me. he must needs 
kill a man and almost put our necks in the 
garotte. He's too serious, that fellow." 



Carmen 



41 



1 )ancairc laughed delightedly and rose. 

•'Beware of that sort. They bring 
trouble. And now for business. We're oil' 
for Gibraltar tonight if Pastia and J-'emen- 
dado arrive from Seville." 

It was late afternoon when the tinkling 
of mule bells gave warning of tht expected 
arrival. By this time the camp was full of 
mysteriously summoned men, swarthy, ear- 
ringed brutes with cruel faces, who even 
among themselves never went unarmed. 

When Carmen saw Jose with the new- 
comers she muttered an oath. 

"The newest member of our band." 
chuckled Pastia rubbing his hands. "On 
the road he helped me lighten two F.nglish- 
men as neat as vou please. He's worth his 
salt." 

Hut Carmen did not like the look on 
Jose's face, nor his fierce glance as he 
strode towards her after dismounting. 

He held out his arms but she evaded the 
embrace. She turned her back upon him. 
Then he seized her roughly. 



"Here, what's this: 
"Not even a kiss for 
me after all this time?" 

She shrugged. "I 
don't feel like kissing." 

"Well I do I" he re- 
torted. "And let me 
tell you something else. 
Prom now on you're 
m i n e. Good God. 
haven't I earned you ! 
I forgot honor and 
duty for you. I became 
a murderer and a rob- 
ber for you. and now 
you refuse me a kiss. 
Well, you shan't play 
with me any longer" — 
warninglv. he drew his 
knife, and his smile 
was icy cold- — "I've 
paid my price and 
you're going to pay 
yours." With sudden 
passion he swept her to 
him and kissed her 
again and again. 

Panting, her eyes 
ablaze, shrieking vitu- 
peration and abuse, she 
tore herself from his 
grasp. 

"When I don't wish 



he demanded. 



it you shan't touch me," she shrilled. "You 
shan't.' Vou shan't!" 

He laughed. 

"You're magnificent! I'll let you go 
now. But when we get back from Gibral- 
tar there'll be no more of this. You're 
mine ! Understand ?" 

The expedition started that evening 
leaving the women in camp, and the next 
day Escamillo arrived in response to Car- 
men's message. Handsome, daring, gay. 
with a chest full of costly gifts, he fulfilled 
the romantic ideal of the girl's momentary 
reigning whim. 

The following morning they started for 
Seville. On two blooded horses whose 
silver trappings tinkled musically, they 
took the winding white road together, she 
laughing and singing, gay as a child, and 
he proud in the glorious beauty of her and 
in his own final triumph. 

"If I win at the great bull fight on St. 
John's day." he said eagerly, "then every- 
thing in the world will be ours, and vou 
shall have it all — all P' 




.4s the knife went home, she would have sunk to the pave, had he not 

upheld her. 



42 



Photoplay Magazine 



Her eyes sparkled, and her dark face 
glowed with quick color. But a sudden 
anxious thought sobered her. 

"If you win, yes," she replied slowly. 
"But Escamillo, don't risk too much. Our 
bravest toreros have been killed in the bull 
ring. The clanger is very great. I — " 

He leaned towards her and took her 
hand where it lay on the pommel of her 
carved and embossed saddle. 

"With you there to watch me, how can I 
fail!" he cried. "Before your eyes I could 
conquer the world, and I will conquer that 
day." 

The fortnight before the great event was 
crowded with excitement. Escamillo 
trained hard for the combat, and Seville 
buzzed with anticipation. And Carmen, 
moving in a dazzling new world of adula- 
tion and luxury, gradually forgot the camp 
among the mountains, Don Jose's place in 
her life, and the sinister threat of his mad 
passion. 

The fiesta came at last, and all Seville 
arose early and went to mass. From sunup 
the city was gay. Rugs and banners hung 
from the iron grilled balconies, and the 
streets were lined with fruit and sweetmeat 
sellers. Through the Moorish arches at the 
city gates streamed hundreds of vehicles 
which merging into the tide of the streets, 
swept on to the Plaza de Toros, or the 
Square before the bull ring. The bright 
sashes and striped ponchos of the men, and 
the multitudes of flowers gave kaleido- 
scopic effects in the dazzling sunlight. 

Carmen, too, rose early that day. She 
dressed with the care of a queen going to 
her coronation, for she knew in truth that, 
should Escamillo triumph that day, mere 
royalty would indeed be forgotten. Her 
dress was of the sheerest silk and gauziest 
lace ; her hair was done low at the nape of 
her neck, and flowers nestled in its blue- 
black depths. Her fingers, wrists, and ears 
glittered with jewels. 

They rode to the bull ring through 
blocked streets that acclaimed them and 
forced a passage of honor for their splen- 
did volant a. Escamillo young, fearless, 
proud, pleased the people. They thronged 
about the carriage to touch his hand or 
throw flowers at the beautiful woman at his 
side. 

At the Ring they were conducted to 
raised seats in the centre box beside the 
arena whence thev were to watch the lesser 



sports which preceded the bull fight. The 
arena was oval in shape and the earth cov- 
ered with sawdust. A high board wall 
hung with embroidered silk and satin ban- 
ners enclosed it. and above this the seats 
rose tier on tier, a mass now of waving, 
glinting, restless color. 

At last when the stands would hold no 
more, a trumpet blew, and the minor sport:; 
began. 

Two hours later a herald warned Esca- 
millo that the time for his appearance ap- 
proached, and accompanied by Carmen he 
left the box for his dressing-room. She 
waited for him at the timbered gates 
through which he would make his entrance 
into the arena, and as she stood there she 
suddenly saw Dancaire coming towards her. 

"Jose is outside waiting for you." the 
gypsy said rapidly. "He's in an ugly mood. 
When we returned from Gibraltar he 
found out that you had come to Seville 
with Escamillo, and he followed you here. 
Take my warning and avoid him." 

Carmen's lip curled. 

"Avoid him? Why? I fear nobody." 

"He means trouble, I tell you. He's 
dangerous." 

"The more reason why I shall see him," 
she said. 

A few minutes later Escamillo came out 
to her. The tumult of the crowd was 
increasing. 

"They're ready," he cried. "I must go. 
Don't fear for me, Carmen. Pity el toro!" 
And he swept her in a close, parting em- 
brace. The next instant the gates had 
swung open with a great swelling of the 
tumult within, and he had gone. 

Carmen heard the crashing applause that 
greeted his entrance, and then, turning 
went out the main gate to the Plaza. Al- 
most at once she found herself facing Don 
Jose, his face dark with passion, his black 
eyes narrowed. 

"I heard you were here and came out to 
you," she said coolly. "What do you 
want?" 

"Listen !" he said, with deadly intensity. 
"You know that you are mine. Then why 
run off with this Castilian butcher? I 
have loved you always ; I love you now. I 
have condemned my soul to hell because of 
you, but I do it all gladly. I will forget 
everything if you will come with me." 

She looked at him with hard, unwavering 
eyes. 



Carmen 



43 



"No. I will not go with you." she said. 
"I shall stay here with Escamillo. I don't 
love you, Don Jose, and I never have." 

Almost instinctively his hand moved to 
the curved hilt of a hroad-bladed knife in 
his sash. She saw the movement but did 
not waver. 

"You have made me a deserter, a mur- 
derer," he said, hoarsely. He drew a long, 
rattling breath. "Well, I will forgive that, 
too, if you will come with me. You must 
come with me, Carmen !" 

"Must."' she blazed, and laughed scorn- 
fully. "I, Carmen, must do anything? 
Are you a fool? I do as I please. I come 
and go as I choose. I am no man's slave. 
I shall not be yours. I do not love you. 
Do vou understand me? And I never 
will!" 

His hand gripped the knife hilt until the 
knuckles showed white. 

"For the last time," he choked, "will you 
come?" 

She seemed to lose her temper at his 
persistence. 

"No, no, no!" she cried, stamping her 
foot. . . . "Ah!" 

The broad, keen blade flickered in the 
sun and descended swiftly twice. She made 
no sound, but smiled contemptuously at 



him as the knife went home. Then, had h : 
not held her upright, she would have sunk 
to the cobbled pavement. And on the in- 
stant from the arena burst a thunderous 
roar of applause. 

"Escamillo! Escamillo! 'He wins! He 
wins !" 

Jose, in the hands of two soldiers who 
had witnessed his deed, listened with bowed 
head. As always Escamillo was the con- 
queror ; he the conquered. The next mo- 
ment above the confusion he heard another 
great cry : "Carmen ! Carmen !" and 
knew that the word of his crime had spread 
like wildfire. The gates swung open and 
he saw Escamillo break from the crowd 
which was bearing him out on their shoul- 
ders, and rush to where Carmen lay. He 
saw him take her in his arms frenzied, dis- 
tracted, calling her name vainly again and 
again. And Jose smiled. It was the smile 
of the vanquished, unvanquished. 

Facing the death that awaited him, he 
knew that he would join his soul's beloved 
first. Surely, when he had given so much 
for love, death could only bring reward ! 
This at last was his triumph. Serenely, at 
the command of his captors, he left Esca- 
millo with the destroyed beautiful thing 
that had once been Carmen. 



Moving Pictures Aid to Temperance 



CALOONKEEPERS do not fear the 
*-* prohibition evangelist, the white-rib- 
boner, nor the grape-juice advocate, half 
so wholesomely as they do the moving pic- 
ture actor, who quite innocently perhaps, 
has become the deadliest enemy of the 
liquor man. 

"If you want to know who is hurting 
the saloons worse than any other man," 
said a Chicago saloon man, without rancor, 
"I can name him for you. He is Charlie 
Chaplin." 

And come to look at it that way, amoiig 
the women whose tears and smiles have 
congealed more of John Barleycorn's 
blood than Carrie Nation's hatchet ever 
spilled, you might mention Mary Pickford, 
Marguerite Courtot, Mae Marsh, Blanche 
Sweet, and any number of other screen 
idols. 



DR. EWER Y interests have long admitted 
*-* the inroads which moving pictures 
have made on their receipts. Recently a 
movement was inaugurated to establish pic- 
ture shows in saloons and give patrons free 
entertainments with their drinks. 

Application was made by saloonkeepers 
backed by a leading brewery, for permis- 
sion to conduct a combined picture show 
and saloon. When the matter came before 
the police commissioners, many leading ex- 
hibitors lodged a determined protest. 
Mayor Rolph expressed himself against 
such a combination. The exhibitors more- 
over threatened to make the question an 
issue at the state-wide election, and the 
brewery interests were frightened off from 
a renewal of their project. Other cities will 
have to meet the problem in the near 
future. 



A Day in the Humor Works 







*^ 



ll ' i l "ii" T l , Tl! 

i ■ ' 








Artist's Idea of Business as usual in a Funny Film Factory. 



44 



The Genius Mill 

BEING THE TRUTHFUL ILLIAD OF WILMUTH PEAVEY'S 
EFFORTS TO PICK THE LOCK OF FAME'S DOOR. 
AND MULTIGRAPH HIS MUG ON THE FILMS OF FATE 

By Jan Meunchener 




Society, 



FTER. he had won the orator's 
medal at the Middletown high 
school, and the village paper had 
mentioned his work in Hamlet, 
given by the Amateur Thespian 
Wilmuth Vandivere Peavey dis- 
covered that he had an afflatus and an 
artistic temperament, which destroyed his 
usefulness at the general store, and he 
came home one day and told his doting 
mother that he was fired. 

Having a lot of time on his hands, Wil- 
muth began to read the literature which the 

Film-flam College 

for Moving Picture 
Actors was spread- 
ing through the 
rutabaga districts 
and bucolic fast- 
nesses, for the con- 
sumption of the 
gullible. This lit- 
erature was opulent 
and very blue sky. 
Wilmuth's ambition 
was fired. He took 
to posing in front 
of the mirror and 
decided he would 
make a great screen 
actor. If Wilmuth 
had had a sense of 
humor he would 
have laughed him- 
self to death; or a 
sense of shame he 
would have accom- 
plished the same 
end with a revolver. 
Wilmuth was tall 
and bilious looking. 




"My, this Wilmuth!" 
"Isn't he an artist. Such 



So Wilmuth struck his father for some 
coin and came to Chicago, where he met 
Mr. Washington Hepburn, president, dean 
and director of the Film-flam College for 
Moving Picture Actors. 

Mr. Hepburn had given up a lucrative 
business selling submarine Florida real es- 
tate for orange groves, in order to sell 
artistic education to the part of the human 
population which is born at the rate of 
one a minute, regardless of sex. 

Although Mr. Hepburn at first mistook 
Wilmuth for Francis Xavier Bushman, it 

did not take them 

long to get ac- 
quainted, and when 
the president began 
to call him by his 
first name five min- 
utes after they met, 
Wilmuth decided 
that he had arrived. 
Wilmuth peeled 
off $60 worth of 
cuticle from the 
bank roll and 
passed it to Mr. 
Hepburn as first 
payment on his tui- 
tion. 

"Now let's get to 
work," he said, "be- 
cause I want to be- 
gin earning that 
$10,000 a year as 
an actor in about a 
week." 

Just then the of- 
fice door opened 
and Miss Gertie 



Mr. Hepburn exclaimed, 
verve, such spontaneity!" 



Nature had tied a 
knot at one end to keep him from unravel- 
ling and he mistook that for a brainy 
head-piece. He had a poll of fluffy hair 
that was the envy of the village wop bar- 
ber and his teeth were set on a bias like 
the fingers of a baseball catcher in the 
days before they used gloves. 



Fehsenfeld of Keokuk, Iowa, stepped in 
and set down her suit case. Miss Gertie 
hadn't had enough personality to get a 
wink from the brakies that ate at the rail- 
road hash-house where she slung the mulli- 
gan, but she was confident that her fortune 
was in her face, although she only had three 
gold teeth. Gertie had already picked out 



46 



Photoplay Magazine 



her screen name, and had decided to build 
her bungalow right near Mary Pickford's. 
She gave up her money to Mr. Hepburn and 
signed the contract for the course. 

The office door pushed open again and 
Mr. Herman Plymer entered. Herman was 
so ugly he was afraid of himself. "I want 
t'git into de movies and play de religious 
roles — see?" said Herman. "I got a piece 
of gas-pipe and went down in a dark alley 
last night and earned me tooition — see? 
Now you turned me brudder Vincent into 
a movy actor and I wants to git some of dat 
meself." 

"Ah, dee-lighted !" beamed Mr. Hepburn. 
"Yes, well do I remember Vincent, your 
brother. Ah, an artist. Come Herman and 
Wilmuth and Gertie, come my children and 
we will go to the studio, and begin at once." 
Mr. Hepburn led away with airy steps. The 
studio was up a dark street, in an abysmal 
back room of a gloomy building. "Ha, ha," 
laughed Mr. Hepburn. "Art seeks attics 
and garrets, does it not. Bohemia loves the 
table d'hote in the dingy cafe with the dirty 
napery. We are Bohemians, my children — 
be glad." 

"Come out o' dat, and slip me me educa- 
tion — quick!" said Herman. "I want to 
git after that $10,000 a year dat de cirka- 
lars promised." 

In the studio were four other members 
of the college whom Mr. Hepburn greeted 
effusively. Wilmuth thought they must be 
studying for grandmother parts, but all of 
them proved to be leading ladies. They 
were introduced and said "How charming !" 
which Wilmuth thought was pretty cute. 
Mr. Hepburn set up a city directory and 
put his coat over it to represent the camera, 
and accustom his pupils to working into 
the eye. 

They rehearsed two romances and a his- 
torical novel in the next half an hour. Wil- 
muth rescued one of the old movie-struck 
ladies from 14 horrible deaths, and she in- 
sisted on making the kisses real. Wilmuth 
didn't like to kiss old ladies with warts. 
Herman as the villain had been too vio- 
lently realistic with a solar plexus also, and 
Wilmuth was glad when Mr. Hepburn 
started his lecture. Mr. Hepburn told them 
things without which no person could be a 
movie actor. He told them that the way 
to register on the screen as a gentleman is 
not to pull up your trousers when you sit 
down. A lady infallibly shows she is such 



by never noticing any of the hired help ex- 
cept when giving orders. A doctor has no 
use in a picture except to listen to the heart 
and then shake his head, indicating the 
patient has gone. A detective never takes 
off his hat, even in church. A preacher or 
priest rolls his eyes to heaven every 150 feet 
of film. A reporter is always furtive, en- 
thusiastic, keen. A disappointed lover never 
fails to press his lady's handkerchief to his 
lips with passionately bitter hopelessness. 
In accepting a proposal a girl always puts 
her arms around the boob's neck as the yoke 
of bondage. 

The janitor of the building stood in the 
doorway and applauded the pupils' antics. 
Mr. Hepburn would give him 10 cents for 
a growler of beer at th? close of the lesson. 

"Aint they great?" Mr. Hepburn would 
demand. "My, this Wilmuth ! Isn't he an 
artist. Such verve, such spontaneity !" 

"Werve is right, guv'nor," the janitor 
responded. "Wot, wit' the critical eye wot 
I 'ave got, and I carn't find no flors !" 

"Ah !" Mr. Hepburn closed his eyes in a 
sort of ecstasy, clasped his hands and smiled 
dreamily. "I look into the future. What 
do I see. I see dark moving picture houses 
all over this land. Then the screens light 
up and characters begin to live and breathe 
and move upon them. The women in the 
audiences lean forward. They laugh, they 
weep, they draw their breath through their 
teeth, they sigh, they moan and collapse be- 
fore the power of the acting. Strong men 
quiver and groan. Who are those actors 
that I see? Who I ask you? Why Wil- 
muth and Herman and Gertie and Lola, 
Mazie, Ermyntrude and Jessamine — you, 
my dearly beloved pupils ! Do you wonder 
that I am happy? Do you wonder that I 
scarce can restrain from weeping?" 

The janitor made a hissing sound from 
the doorway. Mr. Hepburn turned. The 
janitor whispered something and Mr. Hep- 
burn paled. Then he brightened. "Now 
Wilmuth," he said, heartily, "I am going to 
give you an immediate opportunity to dis- 
play your powers of impersonation. Come ! 
There is a delegation downstairs to see the 
president. You go down and represent 
yourself to be the president of the Film- 
flam College for Moving Picture Actors. 
If they ask for good old Washington Hep- 
burn, just tell them he has resigned and 
gone. Now be off and remember this is 
part of your education, and I shall mark 



The Genius Mill 



47 



you on how well and faithfully you do it." 

With a smile of pride Wilmuth started 
down the stairs. Mr. Hepburn in the mean- 
time went down the back way, took through 
an alley, got his grips at the hotel and made 
for the trains. 

"Ah, gentlemen, ladies, dee-lighted," 
said Wilmuth to the delegation, consciously 
copying the manner of -Mr, Hepburn. 
"What can we do for you?" 

"Where's Hepburn?" demanded a burly 
gentleman, who vaguely reminded Wilmuth 
of Herman. 

"Oh, he has left the institution. But I 
have been associated with him for years and 
am now president of the college." Wilmuth 
felt that from some vantage the kindly eye 
of Hepburn was 
watching him, and 
this knowledge 
added a dash and 
spirit to his work. 

"Oh, well you'll 
do then, if you 
helped trim us poor 
suckers. Do you 
remember little 
Vincent P 1 y m er 
that you folks said 
was going to make 
the woild's greatest 
fillum star. Well 
I'm him. These 
other ladies and 
gents is other grad- 
ooits of Fillum- 
Flam College. All 
old college mates. 
We met offten and 
offten around the 
studios. Seems like 
I never went into a 
studio or got kicked 
out of one but I met 
a old class-mate of 
dear old Fillum-flam Coll either comin' in 
or bein' kicked out. They showed me signs 
sayin' "No actor school gradooits need ap- 
ply !" and ast me ef I couldn't read. And 
them others there have been up against it 
just as hard." 

Wilmuth looked and now he saw there 
was nothing carefree or jovial about the 
faces before him. The ladies looked very 
grim ; the men very determined. 

"Wait until I call Mr. Hepburn," said 
Wilmuth, with a sickly green smile. 




"No you don't," said Vincent, "you said 
he was gone." 

Wilmuth smiled and tried from memory 
to gauge the location of the door behind 
him for a quick, backward leap, and a 
sprint to the police station. He made the 
leap, landing in the arms of one of Vin- 
cent's delegation — a tragedy queen who 
was as big as a grand opera singer and 
husky as a Mississippi roustabout. Wil- 
muth gave out a feeble yelp as the others 
closed in on him. And altogether they 
mussed Wilmuth up considerably, and his 
own mother would not have known him 
had she seen him in the moving pictures. 
During the warmth of the pummeling, Mr. 
Herman Plymer came down to see what 
the trouble was. He 
and Vincent em- 
braced. Wilmuth 
explained to Her- 
man, who translated 
to Vincent. 

"Oh, you was just 
kiddin' us for actin' 
practice w h i 1 e s 
Hepburn made his 
getaway was you?" 
said Vincent, and 
they did further 
things to Wilmuth, 
which Herman and 
Gertie and Lola 
and Ermyntrude 
and Jessamine from 
upstairs, joined in 
this time, because 
they had sunk their 
good money and 
they were sore 
enough to take it 
out on anybody. 

The following 
day Wilmuth 
crawled from the 
rods under a freight train at Middletown. 
When the villagers asked him what was the 
matter with his face, he told them a bee 
had stung him, and when they laughed he 
had an excuse to get mad and go away and 
get some beefsteak to put on his eyes. He 
is considered one of the finest clerks ever 
employed at the general store, and he never 
pulls up his trousers when he sits down, 
showing that he is a gentleman, and didn't 
spend his $60 for nothing. Moral : What's 
the use? 



'Ah, gentlemen, ladies, deelighted !" said Wilmuth 
to the delegation. 



Invincible ! 




The Progress of the Photoplay. 



48 




CLOSE-UPS 



I 




^f^r^r^ 



minimi mi 



■Hi 



STATISTICS show that the serial picture is no longer 
in favor. 

Several things account for this. Two leading reasons are 
the American public's impatience when made to wait for 
anything — witness more and more full-length novels in the 
periodicals — and the poor quality of plots and characteriza- 
tions. Photoplay has advanced to a plane where a dramatized emergency 
hospital or police court no longer suffices. Absurb accidents, continual coinci- 
dence, hair-raising escapes and mock fights are palling upon a public which 
demands at least a little logic and some genuine human interest. 

The higher a tower the harder its fall. The biggest disappointment in 
serial pictures was "The Goddess" doubtless because so much was expected from 
it, because it was produced under such distinguished auspices, was given so 
great a fanfare of advertising, was crowned with a splendid cast, and came into 
being, chapter by chapter, from the hands of a good director. The failure of 
"The Goddess" is chargeable directly to its far-fetched, obscure, unhuman and 
at length absurd story. It had every advantage of opulent equipment. Ralph 
Ince's direction was splendid at the start, but strangely careless at the finish. 
The producing company made a cardinal error when they selected this plot; 
otherwise they did the thing with their usual thoroughness. 

Probably the serial picture will sink even farther into disfavor, but one 
cannot reasonably predict its utter disappearance. One long story, vibrantly 
human and holding the thrill of genuine suspense, might work a resurrection. 




WHAT is to become of Charlie Chaplin? 
Will the little genius of laughter slowly relegate him- 
self to comic history, or will he, changing his mediums of 
expression, pass to higher and more legitimate comedy? 
He must do one or the other. No one stands still on the 
highroad of artistic creation. Progress or retrogression is 
the universal lot, and Chaplin's cycle of dirt and acrobatics is about run. 

The richest and most lasting humor in the world is that which is close kin 
to pathos. In life tears and smiles are only a nose length apart. In two pictures, 
"The Tramp," and "The Bank," Chaplin has demonstrated, with almost 
startling clearness, that he can dim the eye as well as expand the mouth. You 
must know " The Bank." Remember that moment when, peering through the 

49 



50 Photoplay Magazine 

door to see stenographer Purviance consign his pitiful roses to the waste-basket, 
his face suddenly goes sober, and his eyes look weary and old ? There was a 
flash of David Warfield there. I dare to say that no screen comedian anywhere 
could have equalled that ludicrous-forlorn instant 

Chaplin may or may not need a director — he's a pretty good film general 
himself — but one thing is unquestionable: if he is to survive, he must have real 
stories. 



The 

Exhibitor, 
a Problem 
in Culture 



A YEAR ago it was proper to speak of improving photo- 
plays: their substance, their acting, their direction. 
Now, the acting and the direction have undergone remark- 
able uplift, and the stories aire getting better. How about 
cultivating the exhibitor, as a next-step in motion picture 
elevation ? 

This statement is no insult to the great body of American exhibitors. 

It doesn't hit the progressive, alert, keenly intelligent picture displayers of 
New York, Chicago, Kansas City or Guthrie. It is aimed at the sloth and the 
sluggard among his kind; at the ignoramus — and he may be addressed on 
Broadway, New York, as well as on Main street, Virginia City — who fell into a 
picture house as a last resort against work; at the half-baked man, who is 
incomplete in everything ; at the lazy man, who takes what his exchange sends 
him and no questions asked ; at the undramatic, illiterate, inartistic, no-showman 
who is cumbering the trade of photoplay purveying just as he would cumber a 
blacksmith shop or the pickle business. 

When there were just " moving pitchers," and no photoplays, a man who 
had been a failure at everything else was thought eligible for " moving pitcher " 
managership. When real showmen, real business men, became exhibitors, they 
crowded this fellow to the edge of the map. They put theaters where sheds of 
trivial amusement for the narrowheads had been. But, though pushed hard by 
the bright boys, the dunderhead not only remained, but added to his cattleish 
kind. The traffic in photoplays was so great, the demand so overwhelming, that 
the first real fellows on the presentation end could by no means meet all 
demands ; inefficiency thrived beside efficiency in the sudden deluge of nation- 
wide prosperity. 

And though it doesn't flourish so luxuriantly today, it still exists, and the 
exhibitor is responsible for more poor pictures, wretched direction and illogical 
stories than greedy manufacturers. 

Fine photoplay houses presenting good plays are scattered everywhere in 
the United States. You will find intelligent, discriminating exhibitors from 
Detroit to New Orleans, just as you will find the shiftless manager, with the 
front of his house looking like a lithograph plant after a cyclone, from New 
Orleans to Detroit. 

Photoplay audiences, all over this country, may be compared only to the 
most fertile soil — to actual hotbeds of possibility. They respond fervently to 
good pictures — real plays and real acting. They know art, and they applaud it, 
and they follow it, but alas! they are too often inarticulate. The exhibitor 



"Close-Ups" 



51 



must lead, and where he leads with efficient intelligence how they do reward 
him ! The other exhibitor — the man who thinks Griffith just a big name, Manon 
Lescaut some sort of tooth-paste, and who perhaps never heard of Geraldine 
Farrar until a month ago — is a growing disgrace to an art constantly expanding 
in dignity and potency. Advanced burlesque, even, wouldn't have him for a 
house manager ; why should the very real business of photodrama tolerate his 
turtleish inefficiency? 



In 
Presentation 






THE man in the projection-loft faces many problems 
besides heat and a literal continual grind. 
The matter of uniform speed has received previous 
comment in this column. It is still a very live issue; in 
instance, witness the enthusiastic racers to be found here 
and there in every city, jerking their characters along like 
galvanic Frankensteins, and straining the eyes of the audience to the tear-point. 
Another matter in sequence of pictures, though lapses in this regard are 
chargeable not to the operator, but to the exhibitor. Distinguished artist though 
he be, Charlie Chaplin should not jump, without a moment's delay, on the 
measured finale of an Ince tragedy, or the close of a Fox thriller of blood and 
love. The bigger and finer the picture, the more "surrounding" it should have. 
And the principal part of the "surrounding" is time, in which the auditor may 
realize, appreciate, and if necessary, recover from, the emotions the play has 
stirred within him. 



War 
Movies 




THE action camera's only impressions of the great war 
have been indistinct and fleeting. 
That is, as far as we have seen. Perhaps Britain, 
France, Germany and even Russia may have master movies 
of march and battle locked away to await leisurely censor- 
ship at the end of the conflict. 
Certain great American newspapers have provided the most interesting 
pictures yet at hand, and even these have long lapses. 

Of course the operators, of all nationalities, are against almost impossible 
situations. To catch the business end of a bombardment they must needs face 
almost certain death; to crank in a magnificent attack they would have to crown 
strategic situations with their tripods, which, from a general's standpoint, would 
be absurd. If they garner the real grimness and horror of war — as, doubtless, 
most of them have— the censorial scissors leap forth to snip. 

Apparently Germany has lent at least a modicum if actual co-operation to 
the cameramen. They are under strict regulation among the Teutons, but they 
are not unwelcome. A dispatch says that the Kaiser himself posed, for a few 
moments, amid the incarnadined triumph of Novo Georgievsk. 

Russia's altitudinous generalissimo, the Grand Duke Nicholas, stretches a 
few feet of American film to the creaking point. 

Great Britain is said to be making a full set of war movies under govern- 
ment supervision. 



Futurist Fotoplays — A Scenario 

(In One Reel and Three Stagers) 

(No Rights Deserved) 

WHAT THE PHOTOPLAYS OF 2000 A. D. MAY BE LIKE 
IF THE- FILM DRAMA FOLLOWS THE PAINTERS' IDEAS 

By Randolph Bartlett 



First Stagger 

CfCENE i — Blackness hides beautifully 
*^ betokening. 

Scene 2 — Cadenzas dawn without gro- 
tesques temporarily notwithstanding sud- 
den light. 

Scene 3 — Words meaningless cover meta- 
physics plus hut still there is more than 
yet; because if there had not been. 

Scene 4 — D flat major with red plush 
trimmings but not on the beetling cliff for 
that could before. 

Scene 5 — People and then a woman and 
then a woman and then a woman and then 
a woman and then a man but all black as 
since and not by the eyes. 

Scene 6 — Words are seen but not read 
and should be spoken nearly aloud in light 
brown. Registers great wealth. 

Scene 7 — Where never moved a tree 
handy for the morning. 

Scene 8 — Invisible climax. 



Scene 7 — Register need of fire when 
blue of cheerfulness in subway with 
aeroplane. 

Scene 8 — Many people have. 

Scene g — Heroic hound asks could seven 
disappear. 

Scene 10 — Nothing. 

Scene 11 — Ten seconds white. Forty- 
nine minus and get the papers from yellow 
pillow-slip in cat garage. 

Scene 12 — Registers love with cloud in 
pinkish climax. 



Third Stagger 
-Half a dozen might, but six 



Second Stagger 

Scene 1 — Blinding bars of conversation 
flicker into close-up but not without. 

Scene 2 — Register oblique ancestors with 
royal food. 

Scene 3 — Takes five but leaves eight 
where there were only seventy-nine with 
lavender and a touch of harp. 

Scene 4 — Dizziness escapes finding dull 
blue dagger which explodes without vio- 
lence leaving sheep in perpendicular pas- 
ture. 

Scene 5 — Chaos calmly retreats frantic- 
ally needing tall humming bird without 
horseshoes. 

Scene 6 — Fadeaway makes torture clat- 
ter underneath and afterward. 



52 



Scene 
never. 

Scene 2 — Gorgeous colored hope with 
sextette in seven-two time by the pulmotor. 
jScene 3 — Oranges fade with storm on 
trolley. Nine men. 

Scene 4 — One man. 

Scene 5 — Heat-waves grope across vil- 
lain because close-up. 

Scene 6 — Seven armies with battleship in 
close formation to avoid cut by censors. 

Scene 7 — Subsequently but previously 
and during. 

Scene 8 — Two chairs, a table and five 
ferry-boats nearly. , 

Scene g — Something. 

Scene 10 — But not much if any. 

Scene 11 — Baseball could with dome of 
capitol if golf had not already in iron 
cage. 

Scene 12 — Censored because comprehen- 
sibly cute but perhaps fewer because none 
was until the red brick kennel came. 

Scene 13 — Hurrying to purple doom. 

Scene 14 — Votes for women. 

Scene 15 — Trial by marriage. 

Scene 16 — Guilty. 

(Bored by the Passage of Nonsensors) 



Mary Pickford: 

Herself and Her Career 

Part I 
By Julian Johnson 

Illustrated by Henry A. Thiede 

THE GARDEN OF EYES 

Mary Pickford blooms today. 

Blooms a thousand times an hour. 

Mary Pickford, I should say, 
Is the Nation's favorite flower. 

Mary comes and Mary goes — 

On the screen in countless parts; 

But the little Pickford knows 
She is planted in our hearts. 

R. H. Davis. 




ilCCASIONALLY a science, 
a trade, a craft or an art pro- 
duces some single exponent 
who stands above all other 
exponents ; who becomes not 
so much a famous individual 
as a symbol ; whose very 
name, in any land, is a per- 
sonification of the thing itself. 

What the name of Maxim is to quick lit- 
tle guns, what ICdison symbolizes in elec- 
tricity, what Stephenson stands for in me- 
chanical invention or Spencer in synthetic 
philosophy, Mary Pickford represents in 
the great new art world of living shadows. 
No more illustrious actress ever lived — 
probably never will live — than Sarah Bern- 
hardt, yet Mme. Bernhardt in the most vig- 
orous of her stupendous years was unable to 
play to one-hundredth the number of peo- 
ple before whom the silent black-and-white 
Pickford performs. It might not be exag- 
geration to say that for one Bernhardt 
auditor Mary Pickford has a thousand. 

So Mary Pickford has come to be the 
intimate possession of all the people, 
whereas the great actress, whether she be 



Bernhardt or a celebrity from Albion or 
The States, remains more or less a tradi- 
tion, more or less a mere soulless name. 
Mary Pickford is to be found every night 
in every city of consequence in the United 
States, and in most of the towns of large 
dimensions. All of the towns, little and 
big, see her several times in the course of a 
year, yet Mary Pickford's intimacy with 
the millions has not grown solely by this 
persistent and tremendous multiplication of 
herself. She is more nearly a universal 
favorite than any actor or actress who ever 
stepped before the camera. Why? Lots of 
people have tried to explain, and most of 
them have failed, for one explanation of 
the Pickford personality doesn't at all 
agree with some other explanation, and 
both are decidedly different from a third. 
That is neither here nor there. This story 
is to deal with facts ; it is not a discussion 
of theories on the charm of an actress. 
And the pre-eminent fact is this : a theater 
in New York, Chicago, Savannah, Des 
Moines, Butte, St. Paul or San Diego doing 
fair business, will, any day, at any time of 
the year, draw a tremendous crowd merely 

S3 



54 



Photoplay Magazine 



by depending that magic legend : Mary 
Pickford Here Today from the outer bat- 
tlement. 

More questions are asked magazine and 
newspaper editorial departments about 
Mary Pickford than about any other half 
dozen stage celebrities in the world. Scores 
of times the editorial department of Pho- 
toplay Magazine has been asked to pub- 
lish "the life of Mary Pickford." Every 
month the Answer Man finds in his mail 
concerning her a congestion of interrogative 
intimacies, some curious, some quite imper- 
tinent, some funny, some a bit sad, others 
wholly legitimate and respectful. 

Photoplay Magazine does not believe 
that the time has come to write "the life 
of Mary Pickford." Though married, she 
is just a grown-up child. However, there 
is much information that can be given, and 
the following chronicle, of which this 
month's section is only the first part, has 
been written to tell something of her ances- 
try, her life, her family, and above all, of 
her professional career, and of the suc- 
cessive steps she has taken on the high-road 
of art. 

Moreover, this is the first time that an 
attempt of serious nature has been made 
upon the Pickford annals. 

There have been countless "stories," 
some of human interest and others of no 
interest at all, and many brief-biographical 
sketches ; but all of these have had a dearth 
of incident. Few, in their dull statistics, 
have given any true revelation of this shy, 
quiet, sweet girl whose glory is greater than 
any queen's, and whose kind and gentle 
eyes are twin scepters over an empire wider 
than Napoleon's. To convey in type some 
impressions of the real Mary Pickford 
throughout her short life is the only pur- 
pose of the series of account and reminis- 
cence — pen, pictorial and photographic — 
here beginning. 

•"THERE are a very few publications 
*■ which seem to take vicious delight in 
informing their readers that Mary Pick- 
ford's name is not Pickford at all, but 
Smith. Their inference is, of course, that 
"Pickford" is wholly a matter of fancy. 

They are both right and wrong. 

Mary Pickford's maiden name was 
Smith, but Pickford is hers not only by 
right of early assumption, but by ancestry. 

The Pickford family is of pure Irish 



strain, though for several generations in 
America. Originally they were North Ire- 
land aristocrats, and several members of 
the house attained wealth and great dis- 
tinction in the late Eighteenth and early 
Nineteenth centuries. 

In those days Scotland, England and 
Ireland did not constitute the single United 
Kingdom which, as a matter of fact, 
needed even the present war to solidly ce- 
ment its constituent parts. Then Scotland 
had just come sullenly under the London 
scepter, and Ireland still waited its foment 
of rebellion and patriotic outbreak, and 
many more turbulent disturbances. 

The Pickfords were splendid National- 
ists, although they were not traitors to the 
Anglo-Saxon hopes and traditions, by any 
means. One can easily imagine the direct 
progenitor of "Little Mary," in a strong, 
rough house on the Emerald Isle overlook- 
ing the Atlantic, biding the time when his 
homeland might be free. 

About the middle of the last century the 
first Pickford to cross the Atlantic came 
to Canada. This was Elizabeth Pickford, 
who settled in Toronto. 

From the Canadian marriage of Eliza- 
beth Pickford was born John Pickford 
Hennessy, father of that Elizabeth Hen- 
nessy who became Mrs. Smith. 

Mrs. Smith's three children, in order, 
were Mary (christened Gladys), Lottie and 
Jack. 

It is commonly supposed that Lottie is 
the oldest of the Pickford children. Of 
dark coloring, taller than Mary, and of 
more athletic figure, she has always seemed 
an elder sister. Since the public assumed 
that she was an elder sister, it has always 
been one of the humorous conceits of the 
family to let her remain so. 

Mary is twenty-t\vo years of age. 

Lottie is a year and a half younger. 

Jack is nearing his nineteenth birthday. 

This family is as proud of the ancestral 
Pickford name — and deservedly so — as are 
the Calverts of Baltimore of theirs, or to 
name other distinguished families, the Van- 
derbilts of New York or the Sutros of San 
Francisco. The Baltimoreans represent 
the pride of aristocracy, the San Francis- 
cans herald pioneer ancestry, and Pickford 
is a name which spells pride of blood. 

Very recently Mary Pickford and her 
mother have placed a splendid monument 
over the Canadian grave of John Pickford 




When "Little Mary" went out as an actress "on her own" she appeared in pieces of blood, thunder and the triumph of right over might. 



56 



Photoplay Magazine 



Hennessy. The story of John Hennessy 
and his mother, the original migrator, 
Elizabeth Pickford, is the world-old story 
of honest, hard-working, God-fearing pio- 
neers who were building their bodies for a 
future generation, and a certain personified 
greatness of which they, probably never 
dreamed. 

The family in America was never rich, 
and generally it was poor, but they were 
always very happy, and never suffered from 
the rigors of real poverty. 

For another thing, the artistic impulse 
was present from generation to generation. 

IF you have seen all of the young Pick- 
* fords on the screen you know, of course, 
that each one of them has intuitive, well- 
developed histrionic ability. Mary, despite 
the public's preference for her in a line of 
pure "personality" roles, is a splendid 
actress ; Lottie has shown herself a more 
than ordinary good actress; Jack is a very 
promising young actor. 

Without doubt they inherited this talent 
from their mother. Yet — again contrary to 
popular impression — Mrs. Smith was not 
an actress until household necessity forced 
them all on the stage at one time, or nearly 
at one time. 

Mrs. Smith, as a girl, often appeared in 
amateur theatricals, and as a reciter. Even 
after her marriage she indulged in occa- 
sional ventures in "elocutionary entertain- 
ments," a pasteurized form of dramatic art 
which swept all America coincidentally 
with the Lyceum and the Chautauqua. 

People usually work only because they 
have to, and become great because they 
have to struggle or die, just as nations fight 
and expand and build themselves into em- 
pires when some other nations step on their 
corns of boundary or commerce. 

A financial hiatus came to the Smith 
family about the beginning of Mary's fifth 
year. Mrs. Smith, a widow left alone to 
support the family, had to think seriously 
about the means of livelihood. 

While the mother and her babies were 
by no means in a state of destitution, it he- 
came immediately necessary to procure not 
merely financial assistance, but the actual 
means of livelihood. In this crisis Mrs. 
Smith thought of her recitationary facility 
at evening parties ; of the parts she had 
played, before her marriage, in amateur the- 
atrical productions. 



The Valentine Stock Company was play- 
ing in the Princess Theater, Toronto, and 
to the stage of the Princess, in search of 
any position which would yield her a sal- 
ary big enough to put bread in the mouths 
of her babies, and clothes upon their wrig- 
glesome little backs, went Mrs. Smith. 

The mother says that Mary was her chief 
cause for living in those dark days, and 
her chief buoyancy ' and relief from care. 
A frail, tiny child of unutterable sweetness, 
with her halo of golden hair, her mystic 
hazel eyes and her quizzical smile — some- 
times mirthful, sometimes melancholy — she 
had a habit of talking as if she were an old 
woman and her mother an infant. She was 
always promising her mother that she 
would care for and look after her. 

Although Mrs. Smith was to demonstrate 
in a short time that she had real dramatic 
talent, it was hard for her to make man- 
agers believe that she could do anything 
worth while. She was a mature woman, 
she had never been on the stage in her life, 
and she had three children ! Where, as far 
as ordinary theatrical conditions are con- 
cerned, could one find greater handicaps 
than confronted this dauntless grand- 
daughter of Elizabeth Pickford, the emi- 
grant? 

But she was determined that she would 
not depend on the scornful charity of dis- 
tant relatives for the sustenance of her 
babies; and, presently, she found a small- 
part opening. 

QNE day the stage manager of the Val- 
^'entine Stock Company took up the 
script of "Bootle's Baby," and remarked to 
Mrs. Smith, in little Mary's hearing : "Be- 
fore this piece goes into rehearsal, I've got 
to find the proper youngster." 

And he added that he would like to find 
a child as wistfully pretty as Mrs. Smith's 
baby — plus a bit of experience, which, in 
his judgment, was absolutely necessary. 

"I'd like to play that little baby's part — 
and I can!" ventured little Mary, simply, 
but with startling suddenness. 

"Why, my little girl," said the stage man- 
ager, smiling down benevolently at the tiny 
thing with its folded hands and wide, trust- 
ful eyes — eyes that were gazing fearlessly 
into his — "you've never been on the stage, 
and you can't read, even. You'd have no 
way to learn your part !" 

"Mamma can teach it to me," continued 




"The tiny child used to tiptoe to the side of the stage and place the feline juveniles 
on the keyboard of otcr old 'prop' piano." 



57 



58 



Photoplay Magazine 



the child, in her steadfast confidence. 
"Won't you please let me try?" she added, 
pleadingly. 

He did. 

And thus the future Queen of the Movies 
came to her first mimic role. 

She was a great success in the wee assign- 
ment, and appeared to "live" her character 
with such unctious joy that the local critics 
trotted forth once more the oldest phrase 
ever pinned to budding talent. They pro- 
claimed her "a born actress." 

She remained at home more than a year, 
playing such child parts as came up in the 
company. 

I_JERE is an impression of little Mary 
* *at this time, from the pen of one of 
the foremost male stars in picturedom. He 
will be nameless here. 

"I have never been Mary Pickford's 
leading man — but I am still hoping. 

"In 1899 I had a near engagement with 
the Valentine Stock Company in Toronto, 
and made the acquaintance of a little miss 
also gaining her first experience on the 
stage. 

"Her favorite amusement was playing 
with some excessively new kittens. Our 
rehearsals were solemn and arduous af- 
fairs, but this tiny child used to tiptoe to 
one side of the stage and place the feline 
juveniles on the keyboard of our old "prop" 
piano — which did duty in any sort of scene 
where a tinkle-box was required. Up and 
down would go these wee cats, one thunder- 
ing out a monstrous bass while the other, 
in terror, pattered along on the treble. It 
was a literal concatenation of sounds. She 
usually broke up the rehearsal, but she 'got 
away with it' because the stage manager 
possessed a sense of humor and hadn't the 
heart to scold her. 

"My recollection of her is as a very deli- 
cate child, with a well-worn shawl drawn 
tightly about her tiny shoulders. Her 
stockings were well darned, and her little 
shoes were not new, either, but she had a 
wonderful wealth of curls, and a wistful 
smile that instantly and universally ap- 
pealed. 

"I never see a picture of Mary Pickford, 
or read a story about her, that my mind 
does not go back to a photograph which I 
had until recently. 

"It was exactly this elfish little being I 
have just described. The picture was 



signed, in a careful, childish hand : 'Yours 
Trulv, Gladvs Smith, in The Silver 
King'.' " 

jV/IRS. SMITH says that she was highly 
l**unwilling to play the role of the regu- 
lation stage mother, sitting idly by while 
her small prodigy supported her. Anyone 
familiar with Mrs. Smith's energetic na- 
ture ; anyone who has brushed up against 
her large fund of common-sense, will take 
that statement at its full value. 

At the end of Mary's year — and her 
mother's — in the Valentine Stock Com- 
pany, a road show came along which took 
the family. 

This piece bore the rurally attractive 
title, "The Little Red Schoolhouse." 

In this Lottie made her professional 
bow, supporting her sister. Even then big- 
ger and stronger physically, she played a 
little boy, while Mary played a little girl. 

The melodrama period followed for 
Mary, and for her mother as well. 

Mrs. Smith secured the Irish comedy role 
in a big road production of the spectacular 
and then popular melodrama, "The Fatal 
Wedding." This was the first melodrama 
in which little Mary acted. She played 
"Jessie, the Little Mother." As it hap- 
pened, this was the first time that Mary 
and her mother had actually played a scene 
together on the stage. 

Mrs. Smith says that the most interest- 
ing work of her professional career, and, 
on the whole, Mary's most interesting 
period of stage activity, was their engage- 
ment with Chauncey Olcott, which, for 
Mrs. Smith, lasted no less than three years. 

The first Olcott play in which they ap- 
peared contained parts for all. It was 
"Edmund Burke," and brought the entire 
family together, in actual actorial partici- 
pation, for the first time. Mrs. Smith had 
a really fine character role. She gave this 
assignment careful study, brought to it ma- 
ture thought and discretion and labor — as 
well as native dramatic ability — and in it 
she won some remarkable notices from crit- 
ics all over the country. 

As far as the family Smith was concerned 
the cast ran in this wise: 

Mrs. Smith Moira 

Mary Lord Bertie 

Lottie Lord Archie 

Jack Lady Phyllis 




59 



60 



Photoplay Magazine 




"The Fatal Wedding" in which Mary Pickford played "Jessie, the Little Mother." 



Thus, strangely enough, Jack, a tiny boy 
of good figure and soft, regular features, 
was cast for a little girl ; while his to-be- 
illustrious sisters played noble little boys. 

As has been stated, Mrs. Smith was do- 
ing really splendid dramatic work with 
Olcott, and as she was receiving a good 
salary and fine critical comment, she re- 
mained with him. 

At this time, as most of older readers of 
Photoplay Magazine will probably re- 
member, melodramas were sweeping the 
country. With their unimpeachable vir- 
tues, their unrelieved villainies, their char- 
acters for pathos and their characters for 
comedy, they were the standard meat and 
drink of the "popular price" theaters from 
the Atlantic to the Pacific. And, as a mat- 
ter of hard fact, only the photoplay suf- 
ficed to finally displace them in popular 
favor. 

After the first part of the Olcott engage- 
ment, the melodramas claimed Mary for 
their favorite child. 

The matter of family name was now in- 
ternally adjudicated and settled. Surely no 
one had a better right than they, the first 
professionally artistic descendants of the 



blooded and redoubtable Pickfords, to 
make public use of the name. They had 
first proved that, like a splendid brand, it 
could be wielded with honor. "Pickfosd." 
as a stage name, was carefully attached to 
four genuine successes ; three of them very, 
very young ; one in early maturity. 
"Gladys" had been used irregularly, and 
was dropped, too ; so. enter, for all time 
and occasions : Mary Pickford. 

As Mrs. Smith is now known by the 
name privately as well as publicly, she will, 
in the course of this^story henceforth, be 
called "Mrs. Pickfori." 

When little MaryNvent out into the world 
as an actress "on her own," she appeared 
with triumph in such pieces of blood, thun- 
der and the triumph of right over might as 
"Wedded, but No Wife;" "For a Human 
Life," and "The Gypsy Girl." 

And here it is interesting to recall that 
as "The Little Red Schoolhouse" brought 
Lottie into the fold, so "The Fatal Wed- 
ding," which already contained Mary and 
her mother in its cast, *wung little Jack, 
then three years of age, into line. 

He was carried on hanging to a man's 
neck, and he had one line to speak. Sud- 



Mary Pickford: Herself and Her Career 



61 




Jack Pickford's Debut — being carried across the chasm on a man's back, in "The Fatal Wedding.' 



denly, one evening, lie told his mother that 
as she and Mary were paid for their serv- 
ices, he would go on no more unless he re- 
ceived a salary. Nothing could persuade 
him, but his strike lasted for just two per- 
formances. He was confounded, not to 
say enraged, when he found that the play 
went on without him, and that another lit- 
tle lad — of course infinitely inferior — was, 
in the emergency, substituted. This lesson 
in the small value of self-importance was 
never forgotten by Jack. , He went back to 
work, still minus "liis salary ; glad to be 
again a figure of n<jtg in the realm of the 
play, but secretly convinced that the world 
was all wrong. 

Lottie Pickford says, concerning this 
period of their lives": 

"Childhood? We had none; that is, not 
as other children have it. Ever since I 
can remember, we were traveling, or play- 
ing in a resident theater, but as we were 
always under the care and surveillance of 
mother — at least during our first years — we 
were well off, and were happy. 

"But our real mother wasn't the only 
one we had. Mary has always been 'Little 
Mother' to the whole family. She was 



constantly looking after our needs, though 
she was only one year older than I, or a bit 
more, and not so big ! I always used to 
think that she imagined Jack and I were 
just her big dolls. 

"Our real mother instilled into us one of 
the most wonderful lessons that any mother 
can teach her children : to avoid petty quar- 
rels ; to be kind ; never to be inflated with 
any success whatever, but always to remem- 
ber that we were just hard-working human 
beings, and that the more we achieved, the 
harder we would have to work in order to 
achieve again. 

"Mother was playing character leads 
with the Valentine Stock Company when 
Mary and I first entered it. It was then, 
and immediately thereafter, that mother 
looked after us so carefully. 

"I can truthfully say that I believe Mary 
deserves even more than she has gained. I 
suppose there are lots of people who be- 
lieve that I envy Mary — that I am jealous. 
I am prouder of her than I could possibly 
tell you. I hold her 'way up somewhere in 
another sphere ! 

"I remember clearly that when my 
mother bought us candy she would divide 



62 



Photoplay Magazine 



it equally in four parts, for baby Jack, for 
Mary, and for me; and though she never 
ate candy herself, she would hold the 
fourth part just to teach us to be kind and 
generous. As for temper — I shudder to 
think of our penances if any of us 'got mad' 
and slammed a door! 

"My father I remember very vaguely. 
You see, he died more than seventeen years 
ago, and his death made my mother imme- 
diately responsible for the whole care of her 
three babies. I possess the only heirloom 
he left us : a silver ring. I do remember 
his soft, white hands : that is all. 

"When we played with Mr. Olcott my 
hair was blonde. I remember that the 
proudest moment of all our lives was a 
criticism by Alan Dale. I can almost quote 
it word for word. He said that the Smith 
family, as we had been known up to that 
time, while unknown, were a decided asset 
to the production; and that Lottie and 
Baby Mary, in their work, were good. 

A X interesting feature of the young 
■^M'ickfords' careers were their educations. 
Among many other wholesome beliefs, 



their remarkable mother held staunchly for 
at least the solid fundamentals of learning, 
and for as much else, in the way of studious 
accomplishment, as could be put into their 
busy lives. 

The equivalent of the primary studies — 
reading, penmanship, arithmetic and geog- 
raphy — was taught the three children by 
their mother. 

Insisting on advanced education, Mrs. 
Pickford succeeded in removing Jack and 
Lottie from the stage for a period of years 
to secure it. 

Lottie is a graduate of the Toronto Col- 
lege of Notre Dame; Jack of the Colle- 
giate Institution of St. Francis Xavier. 

You may have imagined that little Mary, 
in spite of her sweetness, had a will and a 
way of her own. She had. She refused to 
leave the stage for school. But, knowing 
that her mother's advice was sound, she has 
had numerous private tutors — no less than 
half a dozen, in fact — and today she is a 
remarkably cultured young woman. She 
has pursued the study of French and the 
classics, and, of late, has written a good 
deal herself. 



Next Month 

Will come the remarkable story of Mary's first 
appearance as a veritable little star in New York, 
under the patronage of David Belasco. This chap- 
ter in the life of the first lady of the photoplays will 
contain unpublished facts and will be of extraordi- 
nary interest. 



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120 Reels ! 1500 Characters ! 
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(i3 



AS Richard 
Duvall, the 
young Amer- 
ican detec- 
tive, left the French 
embassy in London 
that evening he 
glimpsed even 
through his bitter- 
ness the urgency of 
the need that had 
brought him from 
Paris. "The snuff 
box must be recov- 
ered at any cost." 
Monsieur de ( rrissac, 
the ambassador, had 
just said, white and 
shaking with fear. 
"The honor of my 
country, perhaps 
even the safety of 
Europe depends 
upon it." 

"The safety of 
Europe !" Duvall 
thought savagely. 
"What of Grace? 
What of our inter- 
rupted honey- 
mnon?" 

The fact of his 
duty as a member 
of the French secret 
police did not con- 
sole him in the least. 
At ten o'clock that 
morning Duvall 
had been married to 
Grace Ellicott. 
Fifteen minutes 
later, leaving Grace 
to wait at the pen- 
sion, he had been 
closeted with 
Lefevrc, his chief, 
and within the hour 
was aboard the train 
for Boulogne. With 
him had gone Du- 
frenne, the bent, 

white-haired curio dealer who trotted along 
Piccadilly beside him now. Lefevre had 
agreed to explain everything to Grace, 
but the utter wreck of their plans 
remained. 

Duvall's arrival at the London embassy 

64 




THE 



IVORY 

By Elwell 



Produced by the 
World Film Corporation 

had revealed much of a startling nature. 
De Grissac's snuff box, an ivory toy with 
a pearl studded cover, had disappeared — 
and nations trembled in the balance. The 
ambassador had first missed the box while 
being dressed that morning. Certain of 




SNUFF BOX 

Lawrence 



WHAT HAPPENED WHEN A 
SLEUTH SHADOWED A NATION 

his valet's guilt, he had locked the man 
in his room and wired to Lefevre. 

When Duvall, having learned this, went 
to talk with the valet, Noel, he had found 
the man dead on the floor of his room, 
an open window and a long ladder explain- 



ing the route of his 
murderer. The box 
was gone. 

Questioning d e 
Grissac, D uvall 
learned that during 
the day Noel had 
sent a fellow serv- 
ant with a letter to 
a man named Seltz 
working in a nearby 
barber shop. Evi- 
dently Seltz's reply 
had been a secret 
visit and a death 
blow. 

This was the case 
the detective had 
built up, and now 
he and his strange 
companion were on 
the way to the bar- 
ber shop armed with 
a description of 
Seltz furnished by 
the servant who had 
delivered Noel's 
letter. 

For a little they 
walked in silence. 
Then Duvall asked : 
"You are certain 
you can identify 
t h i s b o x, Du- 
frenne?" 

"Beyond a doubt, 
m'sieur. Did I not 
repair it only last 
year for his Excel- 
lency? It is of thin 
ivory, yellow and 
very old, circular in 
shape and small. 
Its cover is studded 
with pearls, and 
there is an ivory 
cross in the middle. 
Yes, certainly I 
would know it. 
Else why should 
M'sieur Lefevre 
send me with you?" 

Fifteen minutes walk brought the two 
to their destination. There were four 
chairs in the shop, the first two being occu- 
pied. The second barber who tallied with 
the description of Seltz, was shaving a cus- 

65 



66 



Photoplay Magazine 




He stretched out his foot and drew the bag towards him. The other slept on. 

tomer. Leaving Dufrenne outside, Duvall 
entered the place. While his hair was be- 
ing trimmed he watched and listened, with 
every sense alert, hut nothing occurred to 
arouse his suspicions until the man next 
him left the chair. 

"An excellent shave, my good fellow," 
he said to Seltz, rubbing his chin. "What 
powder is that you use, may I ask?" 

Duvall saw Seltz' eyes light up with 
sudden interest and a slight flush over- 
spread his face. The fact that so simple a 
question should disturb the other impressed 
Duvall at once. 

"It is our own brand," Seltz returned. 
"Would you like a box, sir?" 

Duvall stiffened. Was the man under 
the guise of this purchase attempting to 
transfer the snuff box to a confederate? 
The customer who wore a brown overcoat 
and bowler hat of distinctive color replied 
carelessly : 

"Yes ; you might wrap it up for me." 

Duvall tried to see what passed between 
them but could not. The man took the 
package, thrust it into the travelling bag he 
carried and left the shop. Duvall followed 
him out as quickly as he could and found 
Dufrenne. The latter said the stranger had 
taken a cab to the Liverpool station and 
the two at once started in pursuit. 

There they saw their man board the 
Harwich to Antwerp boat train, and en- 



tered the same carriage 
with him. He was 
wearing a false beard 
now. and Duvall distin- 
guished him only by his 
clothes. 

Duvall's eyes gleamed 
with satisfaction. His 
theory had been correct, 
then. The man had the 
snuff box and was tak- 
ing it abroad. His bag 
lay carelessly at his feet, 
and Duvall wondered 
whether the package 
Seltz had given him was 
still in it. He decided 
to find out. 

Seating himself idly 
near the other, he 
stretched out his foot 
and commenced draw- 
ing the bag towards 
him. The man slept on, 
deeply, stertorously. Duvall got the bag 
to his side and then up under the overcoat 
he had thrown across his knees. To open 
it was but the work of a moment, and he 
commenced to explore its contents with 
quick, sensitive fingers. Finally he felt 
the thing he sought, and with a swift move- 
ment transferred it to his coat pocket. A 
minute later he had closed the bag, pushed 
it back into its place and left. 

Dufrenne was waiting for him on the 
platform, and together, under a feeble 
light, they eagerly opened the package. It 
contained a round, cardboard box of rice 
powder. Nothing else. They had been 
duped, led away on a false clue. Utter 
failure stared them in the face. 

That night was the blackest in Duvall's 
life. Xot only had his own cherished plans 
been frustrated but the sacrifice of them 
had proved futile. Oftenest he thought 
of Grace. What was she doing? Could 
she understand? With her traditions of 
wealth and social position could she for- 
give him for the almost unforgivable 
events of that day? 

Duvall determined to take the next train 
back to London and begin all over again. 
But suddenly as he stood watching the pas- 
sengers disembark, he uttered an exclama- 
tion of amazement. Among the last came 
a man who, though muffled closely, was 
plainly Seltz. Unseen he had been on the 



The Ivory Snuff Box 



67 



train with them from the journey's start. 

Keen and hopeful now, Duvall and Du- 
frenne followed him aboard the boat for 
Antwerp, and thence by train to Brussels. 
At the capital, ordering the old French- 
man to follow Seltz and telephone his 
movements, Duvall started to the Hotel 
Metropole. On the way someone touched 
him on the shoulder," and he whirled to 
see a young man of Lefevre's Paris force, 
Lablanche by name. 

"The Chief sent me here last night," 
the latter said in answer to Duvall's in- 
quiring look, "and I have news. We be- 
lieve that the snuff box is being brought 
here to a Doctor Hartmann." 

"What!" exclaimed Duvall. "Not the 
Doctor Hartmann who stole the war plans 
two years ago?" 

"The same. As you know, he is one of 
the most celebrated physicians in Europe, 
and above suspicion except to us. Never- 
theless, he is the head of the German spy 
system here. This Hartmann has a sana- 
torium outside the city, and one of 
Lefevre's agents from Paris succeeded in 
being admitted there yesterday, and in 
learning that the doctor is expecting the 
box. This is the point. It must be pre- 
vented from reaching him at all costs." 

Duvall saw reflected on Lablanche's 
face the same terror that had so agitated 
de Grissac and Lefevre. 
The two walked on to 
the hotel, and the lat- 
ter engaged rooms. 
They had scarcely en- 
tered them when the 
telephone rang, and Du- 
frenne said over the wire 
that Seltz was eating 
breakfast at a third class 
hotel across the citv. 



The need for imme- 
diate action was obvious. 
Beyond question Seltz, 
as soon as he had fin- 
ished, would drive out to 
the sanatorium, deliver 
the box, and receive the 
money which would re- 
ward his success. But 
one thing could defeat 
Seltz : to reach the sana- 
torium first and some- 
how forestall him. 



Without an idea how he was to accom- 
plish this, Duvall acted. Calling a taxi 
he drove to Hartmann's establishment 
The building sat in a large green park and 
was a stone structure consisting of a main 
body and two wings. To the rear and 
connected with it by a covered passage- 
way stood a round stone tower which Du- 
vall rightly judged to be the doctor's 
laboratory. 

At the door a servant admitted him and 
showed him into the doctor's main office 
on the left, saying Hartmann was making 
his rounds of the patients. Duvall took in 
"his surroundings with a quick, intent gaze, 
and then stepped into the hall. As he did 
so, he stood rooted with amazement. In 
a reception room across the hall staring at 
him, her face pale, her lips parted, stood 
Grace Ellicott, his wife. 

In an instant he was at her side, amaze- 
ment, fear and incredulity written on his 
face. 

"I am Lefevre's agent here," she whis- 
pered hurriedly. "When I knew you had 
left Paris I decided to help you. Lefevre 
suspected Hartmann. and I was able to 
get in here as a patient through references 
from Mr. Phelps, the American minister 
in Brussels whom I have known for years. 
I am supposed to be afflicted with sleep- 
walking, and last night I walked and over- 




" His wife, eh ? Now we'll get what we want. Bring her along !' 



68 



Photoplay Magazine 




The test zvas plain. 



If she were indeed a somnambulist she would walk unhesitatingly into the space 
and fall to the room below. 



heard Hartmann in his laboratory say he 
was expecting the snuff box." 

"Great I" he applauded, softly. "I might 
have known you'd do it ! And now I must 
go back." 

He had just returned to the office when 
Dr. Hartmann came down the stairs. He 
was a man of heavy, shrewd face and a 
very powerful build, much above the aver- 
age in size. Now with a keen glance, he 
asked his visitor's business. 

On the way to the sanatorium Duvall had 
formulated a daring and hazardous plan 
which, if carried out with courage and de- 
termination, promised success. Now, hav- 
ing introduced himself under the name of 
Brooks, he proceeded to unfold it. 

He said that his valet was suffering de- 
lusions in which the poor fellow believed 
he had been robbed. As. a result he was 
constantly demanding money in payment 
for the stolen articles. 

The doctor nodded. It was not an un- 
usual case, he said. 

"I told him to meet me here at noon," 
continued Duvall, looking at his watch, 
"and it is almost that now." 



Hartmann, stating that he had work to 
do, said he would wait in his inner office, 
and retired to a small room opening off 
the consultation room closing the door after 
him. A few minutes later came the sound 
of a vehicle being driven up the gravelled 
road, and looking out Duvall saw a cab in 
which sat Seltz. Going softly to the hall 
door of the consultation room he beckoned 
Grace who all this time had not left her 
place in the reception room. 

"Pretend to be a maid," he whispered, 
"and let this man in before he can ring. 
Then show him into this office. Quick !" 

Two minutes later as Seltz entered the 
office, the detective rose from behind the 
doctor's desk and went forward. 

"You are Oscar Seltz from London?" 
he asked, in a low anxious tone. 

"Yes," Seltz was taken aback and in- 
stantly suspicious. "Who are you?" 

"I am Dr. Hartmann's assistant. You 
have the snuff box with you, of course?" 
Duvall smiled reassuringly. 

"Yes. The price was to be 2,500 
francs." He felt in his pocket and brought 
forth a small object wrapped in paper. 



The Ivory Snuff Box 



69 



"But I must sec the doctor himself." 

'"Quite so. Dr: Hartmann is in the 
next room and has the money ready for 
vou. I will call him. But first let me see 
whether you have brought what we want."' 
He held out his hand. "Don't be afraid," 
he said, as the other drew back, "I shan't 
leave the room.' ■ The box will not be out 
of your sight." 

After a moment's wavering Seltz suc- 
cumbed to the American's genuineness, and 
held out the package. :.--.• 

Quite calmly 1 Hivall to >k it and stripped 
it of its wrappings. In every detail it an- 
swered Dufrenne's description of de (Iris- 
sac's snuff box. With another reassuring 
smile Duvall stepped to the inner door 
and tapped lightly. In that moment his 
back was toward Seltz and the latter did 
not see the swift motion by which he trans- 
ferred the box to his waistcoat pocket. 

In another moment the doctor had ap- 
peared, and the comedy so well prepared 



had begun. Seltz, of course, was the de- 
luded valet who had lost something, and 
was demanding money for it. He de- 
manded money now, loudly, consistently, 
and Hartmann helped Duvall to soothe 
him." As Duvall had anticipated, Seltz did 
not dare mention the box by name, lie 
was positive that, in the murder of Noel, 
the man had far exceeded his instructions, 
and that he dreaded being questioned re- 
garding the means he had used in obtaining 
it. 

Swiftly the little drama worked to its 
climax. Seltz demanding his money with 
ever increasing heat, and the doctor- trying 
to soothe him as he -studied the 'case. At 
last Seliz whipped out a revolver and 
pointed- it at* Martmann's head. Duvall 
throttled the fellow from behind, and. the 
specialist, capturing the weapon, treated 
this violent case of delusion as he treated 
others — with a hypodermic injection that 
put the patient to sleep in ten minutes. 




"Oh, Dr. Hartmann," she almost screamed. "I'll tell everything — if you will only let my husband go!" 



70 



Photoplay Magazine 



Profoundly apologetic, Duvall had the 
man carried to the waiting cab, and drove 
off to the Hotel Metropole with him, the 
snuff box in his pocket. Dufrenne with 
glistening eyes identified the article posi- 
tively and Duvall, opening it, found — a 
few pinches of Monsieur de Grissac's snuff. 

What was the secret of the box, he 
asked himself. Upon what mysterious 
property did the safety of Europe de- 
pend? 



II 



A prisoner through his own recklessness, 
the safety of Grace and the snuff box im- 
perilled, and his mission once more en- 
dangered, Richard Duvall sat dazedly in 
that barred room in the sanatorium and 
listened to his baffled and furious captors. 
But partially dressed after the rigorous 
search and rough treatment downstairs, the 
detective was still unshakable. 

"Where is that box?" demanded Hart- 
mann savagely, his little eyes glittering. 

"Box?" replied Duvall in the surprised 
tone he had used ever since his capture, 
"what box ? I don't know what you mean." 

"Yes, you do!" The doctor was quiver- 
ing. "Either you have it with you, though 
we couldn't find it, or you know where it 
is. I will give you one hour to tell me. If 
you still refuse, I shall take means to make 
you talk." He motioned to his assistants, 
and together they left the room locking the 
door after them. 

For a long time Richard Duvall sat 
motionless while the events that had led 
to this situation coursed through his mind. 

That noon with the snuff box in his 
possession, his one desire had been to re- 
lease Grace from the sanatorium and take 
her back with him to Paris. To accom- 
plish this he had enlisted the aid of Phelps, 
the American minister, his wife's lifelong 
friend. Representing that as Mr. Brooks 
he had come from America upon matters 
of great importance to Miss Ellicott (she 
was using her maiden name during this 
adventure), he had prevailed upon Phelps 
to invite her to meet him at dinner at the 
embassy. 

Everything had gone well until to Du- 
vall's horror Hartmann had dropped in at 
the embassy after dinner. By this time 
the doctor was suspicious. He knew the 
box had left London and that it should 



have reached him. The possibility of the 
ruse Brooks had played upon him that 
morning occurred to him, and now to find 
Brooks here, and talking to his new patient 
confirmed his wild surmises. 

At ten o'clock when Brooks and Miss 
Ellicott rose, ^ostensibly to return to the 
sanatorium, but in reality to catch the mid- 
night express for Paris, Hartmann' had 
gone with them. At the curb he had 
suavely asked for a lift back home in their 
cab, and unable to refuse before their host 
Duvall had invited him in. Once under 
way there had been a swift struggle in 
which Duvall found himself helpless 
against the other's great strength, and he 
had been driven to the sanatorium a 
prisoner. 

At the building, after Grace had gone to 
her room, her identity still unguessed, the 
detective had been taken to a stone-walled 
store room in the cellar and there stripped 
of his evening clothes and searched. 

One article only had escaped double or 
triple scrutiny — his opera hat. As Duvall 
fought furiously in the hands of his captors 
the hat had fallen from his head and 
rolled into the shadow behind a packing 
box. The others in their haste and excite- 
ment had forgotten it. The fact afforded 
the only glimmer of light in the gloom 
that enveloped Duvall, for sewn inside the 
heavy silk lining of the crown was the 
ivory snuff box, a fact which only Grace 
besides himself knew. 

At the expiration of the hour Hartmann 
returned to Duvall's luxurious prison. 

"Now I know who you are," he snarled, 
quivering with rage. "You are Richard 
Duvall of the French secret police, so your 
bluff is called. You have that snuff box. 
Will you give it to me?" 

"No," said Duvall stubbornly, and the 
doctor motioned to his attendants. In a 
moment they had seized him and carried 
him down through the quiet building to 
the stone walled room in the cellar where 
he had be"en searched. By the dim light of 
a single electric globe they strapped him to 
the floor so that he could move neither head 
nor limbs, and Hartmann stepped to the 
wall. 

"We will see now whether you will tell 
or not," he growled, and snapped on a 
switch. Instantly from an aperture in the 
ceiling a beam of blinding bluish light shot 
down full on Duvall's face. 



The Ivory Snuff Box 



71 



"When vou've hail enough of that, and 
agree to give me the snuff box. you will be 
released. - ' said the doctor from the door- 
way. "< Itherwise you will lie there until 
those violet rays have softened your brain 
and driven you mad." The next moment 
Duvall heard the ■clanging of the iron door 
and knew that he was alone. 

Upstairs another trap was being laid. 

"We'll see whether or not this Miss Elli- 
cott is a sleep-walker," growled Hartmann 
as, with his assistant Meyer, he took his 
place in a doorway opening on a corridor. 
"Now let her come." 

It was long past midnight when the door 
of Grace's room slowly opened and, dressed 
in a light wrapper over her nightrobe, she 
stepped out. Her arms hung by her sides, 
her face was expressionless, and her eyes 
wide open. Down the corridor towards 
them she came. 

As she did so, she saw those who 
watched, and almost at the same instant 
the trap they had set. Just ahead of her 
a section of the flooring had been taken up. 
The test was plain. If she were indeed a 
somnambulist she would walk unhesitat- 
ingly into the space and fall to the room 
below ; if not she must certainly reveal her 
recognition of the danger. 

On she went slowly, battling with the 
fear that assailed her. But at the brink the 
reaction came. The two sleepless days and 
nights so full of anxiety and fear claimed 
their toll. Sobbjng hysterically, she sank 
down beside the yawning hole. 

With a cry of triumph Hartmann and 
Meyer sprang forward and dragged her 
roughly to her feet. 

"Ah, what's this?" exclaimed the assist- 
ant suddenly, and snatched from Grace's 
hand the handkerchief she held. Lifting 
it to the light he saw the initials G. E. D. 
worked in one corner. It was one of the 
things Grace had embroidered before her 
marriage. The light of understanding 
flashed into his face. "Duvall's wife!" he 
cried showing the bit of linen to his chief. 

For a moment there was silence. Then 
Hartmann's face assumed an expression of 
cruel cunning. "His wife, eh?" he snarled. 
"Now we'll get what we want. The wife 
shall witness the torture of the husband. 
Bring her along." 

Each seizing an arm the two men half 
carried the distraught girl along the cor- 
ridor, down a winding staircase, to the 



room where Duvall lay. For a moment 
Grace stood dazzled by the brightness of 
the single ray of light. Then beneath it, 
his face ghastly, his features twisted with 
agony as he struggled vainly to avoid its 
biting, maddening glare, she saw her hus- 
band. With a cry of pity and misery she 
ran forward, threw herself on her knees 
beside him, and shielded his tortured face 
with her shoulder. 

"Oh, Dr. Hartmann," she almost 
screamed. "I'll tell everything — every- 
thing — if vou will only let my husband 
go !" 

"I thought so," growled the German. 
"Yes, he shall go, and you too. Now what 
have you to say?" 

"First let my husband up." 

Hartmann switched off the ray and 
helped unbind Duvall. The detective stag- 
gered to his feet weak, stiff and half blind. 

"I forbid you!" he cried, turning to his 
wife. "If you do this thing I will never 
see you again. You are destroying my 
honor ! I forbid you to speak !" 

Hartmann swore a great oath. 

"Take her out of here and up into the 
laboratory, Meyer," he ordered. "She'll 
never talk while her husband is with her." 

Easily defeating Duvall's half-blind ef- 
forts to prevent them, they pushed Grace 
through the iron door, locked it and 
dragged her upstairs. There, between 
them, the Inquisition began. 

In the torture chamber Duvall thought 
quickly. He knew that Grace could stand 
no more, and the hiding place of the snuff 
box would be revealed. He did not cen. 
sure her, for he knew that she had suc- 
cumbed to craft that played on her love 
for him. 

But the snuff box ! Was it still in his 
opera hat behind the packing case where it 
had fallen the night he had been searched ? 
Groping about in the dim light he found 
the hat at last, and in a moment had the 
box. 

As yet he was ignorant of the mystery 
that surrounded it. Could he discover it 
now in this brief moment of respite.? Grop- 
ing to a place beneath the light he exam- 
ined the box with burning eyes before 
which whirled streaks of fire and Catherine 
wheels. 

The cover was set with seed pearls in 
the form of a rosary which terminated in 
an ivorv cross raised above the surface. 



72 



Photoplay Magazine 



Feverishly lie studied the cover, manipulat- 
ing it with deft, delicate fingers. Then, 
suddenly he thought he felt the cross move. 
He pressed it again ; it slid aside and re- 
vealed a tiny recess in which lay a slip of 
tissue paper folded many times. Drawing 
this out with trembling fingers he saw writ- 
ten upon it six numbers: 12-16-2-8-20-4. 
He knew now that he held in his hand the 
solution to the mystery. What that was he 
only surmised, but he felt that it bore upon 
the secret diplomatic correspondence of 
that fateful July, 1914. These numbers, 
then, were the key by which it might be 
read. No wonder Hartmann's govern- 
' ment wanted the snuff box ! 

What should he do? Duvall thought 
quickly, intently, for a moment. Then he 
acted. 

Five minutes later Hartmann, Meyer 
and Grace re-entered the room, the latter 
very pale, almost on the point of collapse. 
Without questioning Duvall knew that she 
had told the secret of the opera hat, but 
he forestalled the search for it. Taking a 
step forward he addressed Hartmann : 

"You have forced this girl through her 
love for me to betray a great trust," he said 
bitterly. "But I prefer that if anyone here 
is to become a traitor it shall be myself." 
He thrust his hand into the pocket of his 
coat and extended the snuff box toward the 
doctor. 



With a cry of delight Hartmann seized 
it, pressed the spring, and drew forth the 
slip of paper. He glanced at the numbers 
written upon it. 

"It is all right, Meyer," he exulted. "We 
have won !" Then to Grace and Duvall : 
"Now you two go!" 

It was not until Duvall and his bride 
had settled themselves in the early express 
for Paris that morning that she voiced the 
grief and fear that had never left her for 
a moment. 

"Oh, Richard," she pleaded, "can you 
■ever forgive me for failing you as I did? 
I was desperate. I didn't care what hap- 
pened if I could only stop your suffering." 
Weary, dishevelled and sleepless though he 
was, Duvall laughed. 

. "Don't think another thing about it, 
dearest,-"- he said. "I beat them any way. 
I tore off. the lower half of the strip of 
paper that was in the box, wrote a set of 
haphazard numbers on it with my fountain 
pen and substituted it for the real set. 
That I have with me and shall deliver to 
Monsieur Lefevre today." 

A swift light of pride and gladness 
overspread her face. 

"And then?" she questioned softly. 
• "And then our interrupted honeymoon !!' 
he said, and took her in his arms. 



Kukluxklansmenskall 



#" P l '- J ' 




n 



^h i J jjj 



IE 



r^ 



This is the thrilling "Call of the Clans," in the elaborate musical score written for 
"The Birth of a Nation" by Joseph Carl Briel. It has individuality, and, heard in 
its proper setting, an eerie dramatic power which is as unforgettable as it is stirring. 
You may not be able to whistle this weird strain, but you'll not forget it, once having 
heard it. This score, notwithstanding its many adaptations of well-known airs, must 
be known as the first significant accompaniment written for a photodrama. 




The old "Alden Bessie," sailing vessel of unsavory repute is the veteran "location" of them all. 

"Locations" 

THEY DON'T BUILD MUCH OUTDOOR SCEN- 
ERY FOR THE CAMERA; THEY HUNT FOR IT 



By William M. Henry 



THE overworked genie person who 
was kept busy doing impossible 
stunts for Aladdin had a cinch com- 
pared with the jobs held down by 
"location directors" for moving picture 
companies. 

Did you ever stop to think that every 
outdoor scene, every house, every street, 
every mountain, in fact every exterior 
thrown on the screen has been chosen from 
a dozen similar scenes with the same pains- 
taking care with which the expert angler 
selects his trout fly? 

"When a director decides to take a view of 
a colonial residence, the one which he 
finally chooses is selected only after every 
colonial residence within reach has been 
subjected to the closest scrutiny. 

The methods of reaching and securing 
these locations, as they are called, are many 
and varied. 

In the old days when system was some- 
thing unheard of in the movies, the director 
himself climbed into the backseat of a big 
touring car, ordered the driver to "just 



drive around a little bit" and spent some- 
times several days looking for a single lo- 
cation. 

As time became more and more precious 
and as accuracy became more to be de- 
sired and more essential, the director sent 
an assistant to hunt up whatever location 
he desired. 

The next step towards efficiency has come 
lately in the creation of a new position 
known as "location director." Several of 
the companies have adopted this latter 
system. 

But the system which apparently has 
them all beaten is one used in the Lasky 
studios in Los Angeles and originated by 
Captain Ford, who holds the title of "Effi- 
ciency Director." 

Ford has a copyrighted card index 
system in which he has listed every location 
of any nature within a day's run of Los 
Angeles. 

Houses are indexed and cross-indexed 
and corresponding to each card, with its 
description of the location, is a photograph 

73 



74 



Photoplay Magazine 



which gives the different views of the place. 

Houses are divided into millionaire, 
middle class, etc., and according to the 
style of architecture the millionaire's 
homes are divided into classes such as 
nouveau riche, old family, English, etc. 

Every employee of the company is sup- 
posed to turn in to the industrious Cap 
Ford every location he has "spotted" in his 
goings and comings and they are promptly 
indexed for future use. 

In this manner, the director, when he 
wants a scene, instead of spending a day 
running around looking for it, simply asks 
Ford arid that obliging young man pro- 
duces half a dozen cards and stills for the 
director to choose from. 

At the Universal and several other com- 
panies they have a "location director." 
When there are sixteen companies wanting 
different kinds of locations and wanting 
them quickly it is no small job to keep 
them satisfied. 

Where there is a location director, he not 
only spots the location but he goes out 
ahead and makes arrangements for the use 
of it. 



At the Selig and the Mutual the direc- 
tors, all of whom are veterans and quite 
familiar with the country around Los 
Angeles, do their own locating. At the 
Mutual the directors also make their own 
arrangements for the use of the location. 
At the Selig the company manager does 
the business end of it. 

When Francis Boggs in 1909 struck Los 
Angeles at the head of a company of Selig 
actors, he was at once struck with the 
possibilities of Southern California as a 
moving picture center. He wired Colonel 
Selig at Chicago and squatted down, and 
now there are 12,000 people engaged in, 
making motion pictures in Los Angeles. 

Talking with an experienced director he 
said, "The only location I know of that 
I can't find in Southern California is a 
Vermont maple sugar grove. Everything 
else I think. I can find." 

For a long time no director was able to 
take a big New York scene without going 
clear to New York to get it. It remained 
for a young man named McGaffey to dis- 
cover that by standing on a certain spot in 
Market Street in San Francisco and shoot- 
ing down towards the bay it was possible 
to get a perfect New York street with the 
Chronicle and Ferry Building towers cor- 
responding exactly to the Singer and Wool- 
worth towers in New- York. 

In a little secluded spot between Holly- 
wood and Glendale in the suburbs of Los 
Angeles is a settlement founded forty years 

A settlement a S° and built U P eXaCtI > r like 
an eastern country town. 

It is absolutely d.'serted 

now except for one old lady 

and she is getting 

rich renting the 

dilapidated 




"Locations" 




Houses are divided into millionaire, middle 
class, etc., ivhile the millionaire homes are 
classified as noveau riche. old family, etc. 



store and houses to moving 
picture companies. She keeps 
books and you have to speak 
for the place a week ahead of 
time to get it. 

The old Alden Besse. a sail- 
ing vessel of unsavoury reputa- 
tion is the veteran location of 
Condemned and sold by th 



2/6/15 



Italian 
Formal garden 



824 Berando 



Front and Rear 
Exteriors and Interiors 
Used — 



them all. 
government, 
she was bought for a song by a Sau Pedro 
company and has been used by every mov- 
ing picture company known. 

A few months ago she became tired of 
life and during the night sank resignedly 
to the bottom but was ruthlessly dragged 
from her resting place and put to work 
again supporting her owners. 

"The people with whom you have the 
most trouble" said a director, "are the 
rich." I was once told when I tried to get 
the use of a mansion that bookagents. 
solicitors and "movies" were not wanted 
and the butler, with an icy glance, slammed 



the door. It seemed that once a company 
had used the place and torn it up dread- 
fully and no other companies were allowed. 

Rolling mills and such places are the 
hardest to get for locations for two reasons. 
One is that the photographs might by 
chance show an unprotected piece of ma- 
chinery and the company would be prose- 
cuted by the government. The other is that 
the intense heat ruins the film and makes 
good photographs very difficult to get. 

Many people are delighted to allow the 
use of their homes or places of business if 
the company is well known. The mention 
of the magic names of certain directors se- 
cures the use of places which would be 



76 



Photoplay 'Magazine 




The owiy location in the world 
THfVT hrs fii Book-keeper ! 



One old lady is getting rich renting the dilapidated buildings of a deserted town for movie locations. 



dosed tight to less illustrious personages. 

( )ther persons have a mania to appear in 
the pictures themselves and allow the com- 
panies to use their homes on condition that 
they lie allowed to appear in the hack- 
ground, playing some small part. 

With the tremendous number of com- 
panies operating in Southern California it 
is plainly seen that the locations are rapidly 
being used up and as no company is es- 
pecially anxious to use a location which 
has become "hackneyed" the unused loca- 
tions are at a premium. 

Companies are now prepared to pay 
fabulous prices to secure the use of prem- 
ises which will lend the correct atmosphere 
to their productions. 

The most costly search for a location ever 
made by a single company was that made 
by the Selig for the Xe'er-do-Well when a 



company of twelve was sent clear from Los 
Angeles to Central America for the scenes. 

Lanier Bartlett, who put the story in 
scenario form and was also familiar with 
Panama, was sent on ahead to make ar- 
rangements for the trip. He had to see all 
of the officials of the country to get cre- 
dentials and even after all of his efforts, 
some of the scenes were interrupted by the 
native police who scented an incipient revo- 
lution and thought the cameras were 
machine guns. 

That trip which lasted six weeks cost 
the Selig company in the neighborhood of 
$1 5.000 and the company never whimpered. 

Locations are an absolute necessity to 
moving pictures and if the directors can't 
find them close at hand, they make them 
or like Mahomet, take their company to 
them. 




The old way — 



-and the new. 



The Shadow 
Sta 




A Department of 
Photoplay Review 

By Julian Johnson 



Foreword: No monthly magazine whose dramatic reviews arc devote,/ 
either to the theatre or the theatre's silent sister, the screen, can make its 
columns serve as indices of current attractions. The monthly magazine is for- 
ever barred from being a handbill. It is rather the purpose of the periodical 
to discern tendencies, to discuss the large attempts, to point out trends of 
popular favor, to comment upon general dramatic movements, to herald new 
authors, actors or producers — to give the reader news, and to tell, or at least 
to attempt to tell, what the tidings portend. 



NO living woman has had greater 
stage triumphs than Geraldine 
Farrar ; but whatever these triumphs 
have been her conquest in the pic- 
tured "Carmen" will be infinitely greater. 
Miss Farrar has caused the New York Fire 
Commissioners to look anxiously at the 
Metropolitan Operahouse when she played 
the cigarette girl within its walls. But at 
most, only three or four thousand people 
heard and saw her. When the new and 
immortalized "Carmen" is released, tens, 
scores, even hundreds of thousands may 
see and acclaim her at one time. And in 
the immemorial springtimes of the future, 
when her lithe and passionate beauty is as 
much history as the wars of vesterdav, all 
the glory and splendor and fire of her 
impersonation may be rekindled, studied, 
analyzed, thrilled over. In perpetuating 
the furnace-heat of this tropic, exotic char- 
acterization the "Carmen" film will, in its 



own way, stand alongside "The Birth of a 
Nation" as an epochmaker. 

The history of this picture has been often 
told: how Miss Farrar. induced to per- 
petuate several of her roles, went to Cali- 
fornia early in the summer, and played the 
parts before the Lasky cameras at Holly- 
wood. Of the releases this is the first : and 
whatever artistic importance the others may 
develop, this is unquestionably the photo- 
play of supreme public interest, as far as 
Miss Farrar is concerned. 

In making the scenario William OeMille 
followed the large outlines of Prosper 
Merimee's story, though, unfortunately, he 
deviated from it in some particulars of 
Carmen's character as will be noted later. 

Carmen, a Seville cigarette maker, is the 
able coadjutor of Pastia. innkeeper and 
smuggler. Carmen exercises her fascina- 
tion upon Don Jose, a corporal of dra- 
goons, and takes him awav from his nightlv 



Photoplay Magazine 




post at a breach in the ruined city wall. 
While Don Jose is enjoying his Delilah's 
society Pastia's cohort evades the customs 
with a vast lot of plunder. Later on. 
Carmen gets into a terrific fight with 
another cigarette girl, and Don Jose is sent 
to arrest her. She pleads with him to be 
permitted to speak to Pastia a moment on 
her way to prison. Although such permis- 
sion is a breach of discipline, Don Jose 
indulges her. Scarcely have they entered 
Pastia's tavern when Morales, a sneering 
officer of dragoons whom Don Jose par- 
ticularly dislikes, makes, out loud, the obvi- 
ous comment of an enemy upon such a 
situation. Don Jose and Morales close, 
there is a terrific struggle in which Carmen 
takes no small part, and at length, in a 
breathing spell. Don Jose discovers that 
his final grip upon Morales' scrawny neck 



John Barry more and Helen 

Weir, in "The Incorrigible 

Dukane. " 

has strangled him. Car- 
men bars the doors to 
other dragoons, indicates 
a way of escape, and says, 
coolly, that the debt is 
cancelled between them : 
he helped her, she has helped him — they 
are quits. Dazed. Don Jose exits safely, 
but more at the instance of Pastia than at 
her bidding. Now an outlaw, the corporal 
who gave all for the wanton's love 
endeavors desperately to keep her for him- 
self. She. with her mountain band of 
brigands, has formed a violent fancy, more 
ambition than passion, for Escamillo. 
toreador of Granada who is the talk of all 
Spain. Escamillo desires her much as Don 
Jose did and still does, though more com- 
posedly, and she accompanies him to 
Seville, where the greatest of his fights is 
to take place. Don Jose summons her 
from the box at the side of the bull ring, 
and. upon her refusal to go with him into 
the outland. stabs her. She dies with her 
satiric smile on her lips: he does a Jap- 
anese finish with the same knife over her 
body. 



Photoplay Magazine 



79 



Cecil DeMille must have enthusiastic 
mention for his direction of this photoplay, 
and Alvin Wycoff for his photography. 
The artistry of both is beyond criticism. 

IT is of course with Farrar's assumption 
of the gypsy that people are mainly con- 
cerned. All else— plot, players and pro- 
duction — are of secondary importance when 
judged by public curiosity. 

And be it said that Farrar has never so 
played Carmen, perhaps never will again 
enact her with such brilliance of move- 
ment, such drama of facial expression and 
gesture, such sheer physical power, such 
sunlit splendor of primitive ferocity, such 
selfish and intoxicating jov of living. The 
horror of the tragedy is not the disaster of 
Jose the Basque — as it should be : it is the 
appalling and dreadful anticipation of the 
end of this embodied orgy of flesh which 
seems so swift and vital and potent that it 
cannot die. 

Thais and the rest of the 
Alexandriennes had nothing on 
this Carmen as a maker of 
writheful love. There is nothing 
in this picture which does not 
belong to the lusty Spanish 
wench, but the local Simon Pures and their 
censorial shears may have busy days. 

The DeMilles. as well as Miss Farrar. 
evidently left no rocks of research unturned 
in seeking accuracy of attire and construc- 
tive investiture. Only at Seville's 
boll-ring does the gypsy wear the fine 
mantilla and fan-comb and other 
habiliments known conven- 
tionally as the "Carmen cos- 
tume." Otherwise she is 
either in or out — mostly out 
of the chemisy bodice of an 
Andalusian female of the people : 
her muscular but lovely arms 
playing like swords, naked 
to their shoulder-hilts. 

No women of the screen 
have ever indulged in so 
ferocious and unrelenting 
an encounter as that bat- 
tle between Carmen and 
the other Bull Durham 
maiden in the cigarette 
factory. Farrar begins 
the fight by pulling the 
unfortunate across a table 
with one hand, a neat bit 



of derricking which divests her of most of 
her apparel above the waist. The encounter 
thus begun ends in a cat-session of biting 
and nail tearing which for reality can only 
be compared to that immortal mill in "The 
Spoilers." in which Bill Farnum and Tom 
Santschi actually demolished each other to 
make a celluloid holiday. 

Y/< >UNG Wally Reid rose to the big occa- 
* sion of Don Jose to a great prima- 
donna's Carmen. He is ideal in the role. 
If he had a tenor voice, down and out 
would go imperturbable Giovanni Marti- 
nelli at the Metropolitan! 

Pedro de Cordoba is a matador by name 
and nature as well as job. He brings to 
the assignment the hauteur, the silent fer- 
vor and that subtle, inordinate conceit 
without which no bull-fighter graduates. 

Horace Carpenter as Pastia. William 
Rimer as Morales. Teanie MacPherson a; 



Nat Goodwin and 
Gretclien Ledercr 
in "Business 
is Business. ' ' 




so 



The Shadow Stage 



Frasquita and Milton Brown as Garcia 
complete a flawless cast. 

LJ KRE is the fault of DeMille's scenario: 
" -he lias made Carmen sincere at no point. 
Carmen's affection for Don Jose, though 
brief, was very real. 

"I believe 1 love you a little bit," says 
Carmen (of the novel) to. Jose, even after 
they are quits on their service to each other. 
"1 should like to be vour romi" (wife in 
Romany). And later: "It must be that 1 
love you . . . since you left me I don't 
know what's the matter with me." 

Vet at no moment in the DeMille play 
does she love anybody. Hence her tigerish 
and exhausting passion as she gasps and 
droops upon the corporal in the first scenes 
seems, at length, a bit theatrical. With 
Farrar's tremendous impersonation and 
Cecil DeMille's fine directing it needed 
only reality of motive to make the character 
herself real as daylight. Did not the 
operatic Carmen slap Dan Jose with a 
cassia-blossom long before there was any 
necessity for him to connive at her escape ? 

Some of the captions are needlessly 
stupid. A moment's thought should have 
told the caption-maker that smuggled 
goods should not be "goods" — uninterest- 
ingly impersonal — but as the things they 
were. 

Dramatically, the piece is strongest — in 
point of speed and suspense at least — in its 
first part. 



"THE Battle Cry of Peace," the new 
*■ Yitagraph feature, is to the usual 
motion picture as the American football 
game to lawn tennis. There is tremendous 
mass play, occasional brilliant sprinting of 
action, spectacular displays of gigantic 
forces at death grips : but there is no 
romance, no constant presentation of lead- 
ing players in a consecutive story. In 
other words, it is cohesion of idea and not 
of plot. With all the insistence of the 
measured beating of tympani. it repeats 
with every turn of the crank : "These ter- 
rible things may happen to you. to your 
home, to your loved ones, if America does 
not arouse herself from her lethargy and 
arm against (not for) war." 

In the first part. Hudson Maxim is seen 
delivering a lecture, the alternating scenes 
amplifying his statement of the defense- 
k-ssness of America, showing modern types 



of lighting machines with which this coun- 
try is so inadequately supplied. John Har- 
rison, a vigorous American type, impressed 
with the argument, presents it to Mr. Van- 
dergriff, a multimillionaire railwav owner 
and peace, or rather disarmament advocate, 
but he has come under the influence of a 
foreign spy, Mr. Emanon. Incidentally 
Harrison loves Yandergriff's daughter. 
The spies are shown working secretly; pre- 
paring for an invasion within the month. 
This invasion comes in the second part, 
bombardment of New York without warn- 
ing causing tremendous destruction. This 
is the spectacular division of the film, 
explosions, flight of terrified thousands, 
conflagrations, and all manner of disaster 
being pictured with graphic intensitv. In 
part three the enemy has landed. Emanon 
betrays Harrison and Vandergriff into the 
hands of the invaders, and they are placed 
in a squad which is mowed down by a 
machine gun. Miss Yandergriff kills 
Emanon, when he tries to make forcible 
love to her. and with her mother, sister and 
brother, flies in an automobile. They visit 
the place of execution and discover that 
Harrison is not dead, but in trying to escape 
with him they are captured, and Harrison 
is bayoneted when he strikes an officer of 
the invading forces who insults his sweet^ 
heart. In the power of the brutal officer. 
Mrs. Vandergriff kills her two daughters 
to save them from the fate suggested, and 
herself goes insane. Parts four and five 
suggest general educational methods to be 
employed to make such events impossible, 
and introduce real and allegorical scenes 
calculated to inspire patriotism, and pro- 
mote a revival of the spirit of the G. A. R. 
and of '76. 

At the opening projection at the Yita- 
graph Theater, New York, a mistaken idea 
of producing realism by hammering the 
bass drum for every cannon shot and bomb 
explosion, accompanied by a weird assort- 
ment of other noises, even to the cries of 
the scurrying populace and groans of the 
wounded by a mob behind the screen, made 
the general effect so confusing that it was 
impossible to concentrate the mind upon the 
serious matter presented. Still, two points 
stand out. 

First : The photography is magnificent 
throughout, and at times transcendentlv 
beautiful. The night scenes of Conev 
Island and Times Square, showing the well 




Herbert Brenon and Jean Sot hern in ' ' The Two Orphans. 



known electric signs in full operation, are 
astonishing, even to those who know some- 
thing of the speed of the cinema's eye. 

Second : The horrors attending the 
descent of a hostile force upon a defenseless 
land are shown with a ruthlessness that 
makes the message "register." This was 
the sole aim of the author. J. Stuart Black- 
ton. But the question now remains, wheth- 
er or not argument can be regarded as 
entertainment. Granted the subject is vital 
and timely, it seems, upon reflection, that 
fully one-third of the film is reading mat- 
ter, and necessarily so. Will the public pav 
for propaganda, even if the propaganda is 
popular? That is the question that "The 
Battle Cry of Peace" presents. If tin- 
answer is "Yes," motion photography has 
reached another stage in its evolution. 



/""■REDIT must be given the Metro com- 
^pany, in its production of "The Silent 
Voice," for a serious and ambitious attempt 
to secure a worth-while drama for Francis 
X. Bushman, who, next to Marv Pickford. 
undoubtedly has the largest individual fol- 
lowing among picture patrons. 



That this ambition was not wholly rea- 
lized seems to be the fault of 

( 1 ) The author. 

(2) The director. 

(3) Mr. Bushman. 

(4) The caption writer. 

In a sentence, this is the tale of a young 
master-musician, deaf and in a feud against 
the world : won to the gospel of service and 
tolerant at last of his tonal darkness ; 
restored to hearing and happy in an ideal 
love. 

It is evident that the producers here 
endeavored to get Mr. Bushman away from 
the strong-man stuff, and to harness his 
virility and tremendous force in spiritual 
trappings, rather than in the traces of 
biceps and shoulder muscles. If, using this 
unconvincing picture as a stepping-stone 
to better things, they proceed undisturbed, 
they will arrive. Bushman has the making 
of a realist in him. but to arrive he needs 
not one play but a succession of plays : not 
respectful suggestions, but a director to 
whose will he bows without dispute. 

"The Silent Voice." originally written 
for Otis Skinner, is a wobbly bit of unreal 
sentiment in Jules Eckert Goodman's most 

81 



82 



Photoplay Magazine 



tearful vein. Goodman has an unfortunate 

faculty of taking a good basic idea and 
spoiling it with mock heroics, mushy ro- 
mance and domestic sentimentality reiter- 
ated until it becomes utterly unconvincing. 

Here is the servant mania in its tertiary 
stage. New maids and lieutenant butlers 
bob up under every portiere in the house of 
this musician of infinite resource. 

Frank Bacon, playing the confidential 
valet, is indeed a sweet and lovable charac- 
ter, but why must be unvaryingly refer to 
his employer as "Master"? This is no 
Uncle Tom show. Demerit 1 for the cap- 
tionist — or did the author insist on this? 
1 >emerit 2 for the captionist, alone : the 
embroidery and fustian accompanying even 
the simplest statements of fact. 

The same lack of simplicity pervades all 
the play's undertakings. Mr. Bushman is 
surrounded by a cloud of ponderous dig- 
nity, out of which that lightning of force 
which is himself flashes only occasionally. 
Whether the director or Bushman is most to 
blame for the general unreality of the ac- 
tion is a matter upon their own consciences ; 
the observer can't decide. 

Marguerite Snow is more than sufficient 
as the sweetheart. She is better than her 
part. Lester Cuneo is a villain of the unre- 
generate type. 

Why seven reels, when there is less than 
three of genuine dramatic material? 

The scenic equipment of this play is 
opulent. 

In the use of the "moving lens" the cam- 
eraman has outdone all his fellow travelers. 
Here the one-eyed recorder not only fol- 
lows the actors from spot to spot, but from 
room to room. 



A SSUREDLY John Barrymore may be 
■**■ acclaimed premier of the screen's legit- 
imate comedians. He bids fair to become 
to speechless plays what his uncle. John 
Drew, is to the limited stage : the unques- 
tioned arbiter of genteel laughter. 

Of course John Jr. is rougher. He's 
younger, and his medium is different. He 
has ail outdoors and wild country, while 
his uncle has been for many years limited 
tr one room in an upper class house, and 
situations excessively polite. 

It is a faculty of the true comedian that 
he is funny anywhere : that he can turn a 
ray of laughter upon any moment of opaque 
seriousness, and shoot it through with gig- 



gles. That's Barrymore, the incomparable. 
"The Incorrigible Dukane," his latest 
Famous Players vehicle to fall within the 
scope of this department, is merely a thin 
strand from which depends the inimitable 
jewel of Barrymore personality. To de- 
scribe his fun in detail would be as hard 
a task as painting a word picture of a new 
perfume. 



V()U know that an absorbing story, when 
* one is traveling, compresses time and 
annihilates distance. A good book makes 
New York only a nap from Chicago. It 
is a yawn and a wink. then, between Fa 
Salle street and ( Irand Central. You are 
probably not thrilled or overwhelmed ; but 
you are distinctly entertained. 

Which is exactly the impression left by 
the Selig feature, "The Circular Staircase." 
Here is a concise, well-told detective story. 

The atmosphere, and even the narrative 
style of the original author. Mary Roberts 
Kinehart. have been well preserved. 

To Eugenie Besserer falls the part of the 
invincible Aunt Ray, who can't be driven 
by dead men or living from the manor she 
leased under apparently benign auspices. 
Frankly, I did not believe that Miss Bes- 
serer had such powers of characterization. 
She plays Aunt Ray quietly, smoothly, de- 
terminedly ; with force, but without melo- 
drama ; always with distinction, dignity, a 
rather grim touch of humor, and. at one or 
two moments, a tear-drop of sincere pathos. 

This Selig picture is pre-eminently a tri- 
umph for the director. 



T" 1 WO Universal features claim attention 
* — one for its fairly general merits ; the 
other for the power of its story and the pre- 
eminence of its star. The first is "A Little 
Brother of the Rich;" the second. "Busi- 
ness Is Business," with Nat Ooodwin. 

"A Little Brother of the Rich" is taken 
with accuracy from Joseph Medill Patter- 
son's novel. The central figure of the pho- 
toplay is Henry Leamington, actor who 
fights his way above the curse of drink. 
Leamington is played by Hobart Bosworth. 
who makes him at all times a being of 
power, tenderness, passion, a good deal of 
sorrow and not a little mirth. In all of 
Mr. Bosworth's screened parts he has 
shown no simpler or truer vision than that 
of the once-great actor's fight against 
liquor, his struggle for a new place in the 



The Shadow Stage 



83 



sun of public favor, and his ultimate con- 
quest through a woman's faith. Why he 
wears such unpardbnably long hair after 
prosperity returns is inexplainable : it is 
an anachronism that doesn't belong at 
all, considering the general fineness and 
finish of the portrait. Jane Novak gives 
sweetly sympathetic support as Sylvia Cas- 
tle. Maud George,, as Muriel Evers, ex- 
tends an exhibition of passion running 
right up to the censorial line. It always 
seemed to me that Patterson's demonstra- 
tion of society, per se. was absurd, but. such 
as ii is, a lot of efficient Universalites give 
it faithful repetition. The thrill-hunter 
will yet his in an automobile smash. 



"DUSINESS Is Business" is from the 
notable play of Octave Mirabeau. The 
celebrated Frenchman endeavored to limn 
a l-'rankenstein of office and desk whom 
nothing, not even the direst personal disas- 
ter, could swerve from that process which 
America has given best description in its 
colloquialism, "making money." Mr. Good- 
win, in many ways the supreme artist of the 
American stage, brings to the role that 
power which seems never to leave him. and 
the resource and finish which are only a 
master-veteran's. Coincidence spoils the 
finale. Whatever may happen in real life, 
here are too many simultaneous tragedies 
for art. The pity of it lay in clouding 
Goodwin's carefully built, tragic character 
with a final sense of burlesque. His support 
is acceptable, and Gretchen Lederer does 
really good work as the woman Celeste. 
Scenic accessories, though sometimes suspi- 
ciously overladen, are pretty fairly in keep- 
ing. Was Lechat's mansion used also as a 
"location" in "Tillie's Punctured Ro- 
mance" ? 



\Y7II.LIAM FOX'S entry into the pro- 
. gramme-field was signalized by a 
striking production of "The Two Or- 
phans," in which the title-parts were 
played by Theda Hara and Jean Sothern. 
While Miss Para achieved, here, her cov- 
eted hope of playing a "good" girl, it 
cannot be said that her conversion was alto- 
gether a success. As the heroine. Hen- 
riette. she was perfectly proper and 
pasteurizingly nice, but there will be many 
as likes her better bad. Jean Sothern's 
Louise was a pretty and gentle child. The 



starry moments, however, were almost all 
snapped up by that volcano of play-makers, 
Herbert Brenon. who plaved Pierre, the 
crippled and heroic scissors-grinder, as he 
has seldom been enacted even in notable 
revivals on the stage. Mr. Brenon also 
directed this picture, but it is not believed 
that he was his own cameraman, or that he 
booked the film or sent out the press no- 
tices — so, you see, he did hardly anything, 
after all. 



| BELIEVE I am one of many who are 
very, very anxious to see the long-prom- 
ised "Madame Butterfly." by Mary Pick- 
ford. Miss Pickford is enshrined in the 
hearts of all the people, not because she is 
the sweetest of limpid non-entities, but be- 
cause she is a young woman of powerful 
personality and extraordinary dramatic tal- 
ent. Hers is the art which conceals itself. 
Such hen-yard drama as "Esmeralda" is 
as unworthy of criticism as it is unworthv 
Mary Pickford and her dignified and ener- 
getic managerial corporation. 



CEEING Marguerite Clark in "Helene 
^of the North" was getting a flash of 
heavenly cool air in a room long over- 
heated. Miss Clark, like Miss Pickford. 
has been confined to personality parts. 
Here was a story of adventure, adroitly de- 
vised as to scenario, ably directed, swift 
with the suspense of true drama, exhibiting 
cameo Marguerite in a fine new light. 



JX"ALEM'S "Mysteries of the Grand Ho- 
tel" end this month, as a series. Bach 
of these stories was complete in itself, thus 
doing away with the serial stigma. They 
were plausible, human, logical detective 
tales : full of action, a little love, seasoned 
with a bit of the piquant spice of sex, and 
finished at times with moments of pathos. 
There should be more screen adventures of 
this type. Congratulations to the man who 
directed them: James Home, of Glendale, 
California. 



'7"\ X THE BOARDS" has really not lost 
^"^ its sonorous old worth. I saw a palace 
scene in "The Broken Coin" in which the 
noble floor was of nice, roughly-sawn tvvo- 
by-twelves — fairly well planed. 



Beauty and Brains 

Contest 



JUDGES SELECTED — TREMENDOUS 
INTEREST IN THIS GREAT OPPORTU- 
NITY MANIFESTED IN ALL SECTIONS 



I— I ERE are the judges in the Photoplay 
1 1 MAGAzixE-\\'orId Film '"Beauty and 
Brains" contest : 

Lillian Russell 

William A. Brady 

Kitty Kelly 

Lewis J. Selznick 

Julian Johnson 

Miss Russell, the most famous beauty of 
modern times, has been illustrious through- 
out her career for her kindness and gener- 
osity, and for her oft-repeated assistance, 
on occasions similar to this, to young girls 
essaying the first rung in the ladder of 
celebrity and fortune. She is not only a 
perennial beauty herself ; perhaps more 
than any living woman, she has analyzed 
the secrets of beauty, and knows how much 
mentality contributes to loveliness. Miss 
Russell was one of the first beautiful 
women to point out that complexion and 
contour, alone, cannot constitute charm. 
She herself has symbolized, and has long 
argued among women for that sesame of 
attractiveness which is the very name of 
this competition: "Beauty and Brains." 

William A. Brady is one of the most 
experienced, best known and shrewdest of 
New York's theatrical managers. As the 
father of Alice Brady, one of the most 
beautiful young girls on the American 
stage, and as the husband of Grace George, 
one of the theatre's loveliest women. Mr. 
Brady dwells in an atmosphere of pulchri- 
tude. 

Kitty Kelly is photoplay editor of The 
Chicago Tribune. A great many people 
who ought to know have called Miss 
Kelly's morning department of picture 
news the most authoritative and interesting 
movie sections published in a daily news- 
paper anywhere in the world. 

Lewis J. Selznick is vice-president, gen- 
eral manager and all-around genius of 

84 



World Film and its allied corporations. 
Mr. Selznick is a dynamo of tremendous 
energy ; and not only is he energetic, but 
he has built World Film and its produc- 
tions up to better and better things. He 
has inculcated a desire for artistry in all 
of his people. His leading women today 
are prize specimens of "Beautv and 
Brains." 

Mr. Johnson is the editor of Photoplay 
Magazine. 

JWIUSICAL comedy, even, has been 
■'"■'•robbed of its leading lights in an ex- 
traordinary endeavor to fill the extraordi- 
nary camera demand for beautiful young 
women. There never was. in the history of 
this or any other country's interpretative 
art, so great an opportunity for fair ambi- 
tion. 

Surprising interest has already been 
manifested in this contest. Surprising, in 
that far-away young persons have re- 
sponded with more avidity than the eli- 
gibles of New York. Chicago or Southern 
California. 

""THEIR answers, like their photographs. 
A are indicative of character. Some are 
humorous — either intentionally or uninten- 
tionally ; some are strikingly forceful ; oth- 
ers reveal varied artistic abilities; still oth- 
ers the advantages of education and travel 
— or the lack of them. 

Here is a wonderful insight into a wom- 
an's heart : 

"I live in a small town in New Jersey." 
writes the contestant, "and as it is very 
quiet here, I think it would be wonderful 
to live, even for a little while, other peo- 
ple's lives." Other people's lives! -There- 
in lies the glory of the drama, and all that 
pertains to it : the escape from the monot- 
ony of one's own existence, into the exist- 
ence of another. Who would not be a 



Beauty and Brains Contest 



S5 




Taking a big scene on a "location" near the World Film Corporation Studio. 



queen for an hour, or who would not. for 
the sheer excitement of it. he desperate and 
hunted for half a day? 

Here is a pathetic paragraph from a little 
Polish girl of unutterably sweet face — her 
face is like the Madonna's: "1 am making 
the family living as hest I can, and I have 
gotten an education as hest I can, yet you 
know it is hard for a girl in a strange 
country. I have seen so much of life in 
the eighteen years I have lived that I think 
I could portray almost any character." 

And this girl, a dusky Italian from 
Baltimore, was inspired by grand opera : 
"I have been thrilled." she says, "by the 
Metropolitan Opera Company's wonderful 
.performances. I want so much to he an 
actress, yet I have not much voice. As T 
do not need a voice for the screen, I am 
therefore hopefully entering Photoplay 
Magazine's contest." 

HT I IK "Beauty and Brains" Contest, con- 
■*• ducted jointly by Photoplay Maga- 
zine and The World Kilm Corporation has 



begun — the biggest open tourney, with the 
widest appeal ever offered by any publica- 
tion. 

Briefly, the purposes of the contest arc 
to provide the American screen with ten 
beautiful women players, hitherto unknown, 
in a public sense, and conversely to give 
ten young Americans a chance for careers 
in the foremost artistic field of today. 

The rules governing the contest are 
simple. 

Here they arc : 

The contestants shall have had no pro- 
fessional stage or screen experience. Each 
entrant shall send two photographs to The 
Judges. "Beauty and Brains" Contest. 
Photoplay Magazine, 350 North Clark 
Street. Chicago. The full names and ad- 
dress should be written plainly on the hack 
of each picture. A letter of not more than 
150 words on "Why I would like to be a 
photoplay actress." must accompany the 
pictures of the entrant. 

Krom the photographs and letters so re- 
ceived the judges will select two from each 



86 



Photoplay Magazine 




Miss Vivian Martin's dressing room at the Fort Lee Studio of World Film Corporation. 



of five National Grand Divisions. The ten 
winners will he taken to New York in first 
class manner, will he housed at one of the 
most celebrated hotels of the metropolis 
under unimpeachable chaperonage. and 
within two weeks at utmost, after their ar- 
rival, will be given photographic and 
dramatic trials at the World Film Cor- 
poration's studios. Fort Lee, New Jersey. 

The contestants who pass the final photo- 
graphic and acting requirements, will be 
given contracts as World Film actresses for 
a period of not less than one year, at regu- 
lar salaries. Those who fail will be re- 
turned to their homes, with all expenses 
paid. 

If talent is latent, and will respond to 
the tutelage of the most eminent directors 
of the World Film staff, there will be no 
failures. For as keen as may be the desire 
of the aspirant for success, hardly less 
anxious are the World Film directors to see 
her "make good." 



The Five National Grand Divisions 
from each of which will come two bidders 
for fame, are as follows : 

The Eastern Division is composed of the 
states of Maine. Vermont. New Hampshire. 
Massachusetts. Rhode Island. Connecticut, 
New York. New Jersey. Delaware. Mary- 
land. Virginia, and North Carolina. 

The East Central Division is composed 
of Ohio. West Virginia. Pennsylvania. 
Kentucky. Indiana and Michigan. 

The West Central Division is composed 
of Illinois. Wisconsin. Missouri, Iowa, 
Kansas, North Dakota. South Dakota, Min- 
nesota, and Nebraska. 

The Western Division is composed of 
Montana. Wyoming, Colorado. New Mex- 
ico, Arizona. Utah. Idaho. Washington, 
Oregon. Nevada, and California. 

The Southern Division is composed of 
South Carolina. Georgia. Florida. Ala- 
bama. Tennessee, Arkansas. Mississippi, 
Louisiana. Oklahoma, and Texas. 



For more than two years 
Big Bob and Little Ella 
have been eo~stars. 




"Bob and Ella" 



TWO YOUTHFUL ARTISTIC PALS 
AMONG PHOTOPLAY TEAM-MATES 



By K. Owen 



BOB 'n' Klla." 
That's the way they say it out in 
Universal Citv. 
They mean' "Boh and Ella." 

Amplified still further: "Robert Leonard 
and Miss Ella Hall," which is the way 
they appear on the billboards, or flashed on 
tile screen. 

But on the edge of Los Angeles, where 
the sole industry is the making of moving 
pictures, they are "Hob 'n' Ella" to all — 
managers, directors, actors and stage hands. 

Hoi) is the biggest, huskiest author- 
director-actor in the business ; Ella, the 
littlest, tiniest, blondest star that twinkles 
in the film firmament. 

For more than two years Big Bob and 
Little Klla have been co-stars, and having 
played together longer than any others at 
the Universal they now rank as the senior 
co-stars of the company. This however, is 
only a temporal honor, the chief distinction 
of the pair having been gained from their 
work before the camera. 



Miss Hall, although still on the sunny 
side of twenty, is one of the pioneer "movie 
queens" — incidentally a phrase which is 
being barred in our best journalistic circles. 
For seven years she has acted before the 
camera, following three years on the legit- 
imate stage. 

Seven and three makes ten. Which be- 
ing conceded without argument, the conclu- 
sion can only be that the fair Klla began 
her stage career at an early age. inasmuch 
as she made her debut on the greater stage 
of life eighteen years ago in the village of 
New York. 

"Being born on the 17th of March, some 
of my friends have insisted that logically. 
1 should be playing character parts," con- 
tributed the little blonde lady as her por- 
tion of the interview. "Well. I can play 
them (heavy accent on 'can'), and have 
done so. but it's a whole lot nicer just being 
vourself. Next to being just me, I like 
best to play kiddie parts. Every actor 
likes to appeal to the best impulses and 

87 



88 



Photoplay Magazine 



emotions of the people and what is more 
appealing than the child? Of course, the 
screen 'lovers' have their place in the affec- 
tions of the theatergoers, but I much prefer 
the role of a lovable child to that of the 
sweetheart of a stalwart, dashing lover. 
Getting 'crushed in the arms' of a fellow 
about twice your weight doesn't exactly fit 
in with my views of agreeable indoor or 
outdoor sports, though 1 am told the deadly 
clinch is exceedingly popular with a lot of 
folks as a photoplay 
finale." 

Then we walked down 
"Grease-paint Alley" to 
call on "Bob" in his two- 
compartment dressing 
room, that size being re- 
quired so that the big 
star can take off his rid- 
ing boots without ex- 
tending his nether limbs 
through the doorway. 

"Bob" had just come 
in from a location, an 
all-day job directing, for 
in the big feature pro- 
ductions he is only an 
author and director and 
doesn't have to act. 
After getting rid of a 
coat of dust and giving 
his assistant instructions 
to tell the company to 
report at 3 A. M. — im- 
agine — t h r e e in t h e 
morning! — for a trip to 
the mountains in time to 
catch the sun in its reg- 
ular rising stunt, he de- 
clared that he was ready 
for anything. As an 
afterthought he benign- 
ly told his assistant that 
he could also tell the 
members of the company 
that they could rest un- 
til noon after the return 
from the sun-rising stunt 
— they would get back 
about 10 — and then be 
ready to shoot a half 
dozen or so scenes which 
would take until sun- 
down. 

"Yes, it's a great life, 
if you keep your temper 




' Yes, it's a great life — // you keep your 
temper and your strength !" 



and your strength," he opined as he un- 
limbered his six-foot-two of frame and 
brawn. ''.Sometimes my temper gets abbre- 
viated, but it seems that the harder I work. 
the bigger and fatter I get, and you know 
what professional people think about adi- 
pose tissue. 

"My form wasn't exactly sylphlike when 
I quit the old Burbank stock company in 
Los Angeles, and character parts to be a 
screen lover four years ago. but just look 
at me now. If I get 
much bigger, the only 
part I will be good for 
when I go back to acting 
will be the Giant in 
'Tack the Giant Kill- 
er.' " 

Vet "Bob" isn't just 
fat in front. He is big 
all over, and having 
some frame to cover, the 
upholstering is well dis- 
tributed and not dis- 
agreeable to the eve. 

Mr. Leonard will be 
26 years old October 
7th. so he is not exactly 
an old 'un and he is ap- 
parently proud of the 
fact that he was born 
in Chicago. He was ed- 
ucated in Denver, where 
he was taken at an early 
age. and was a football 
and baseball star in 
school, sports in which 
he is still deeply inter- 
ested. He "broke onto" 
the stage in Los Angeles 
before he was twenty, 
singing in light opera 
and later played char- 
acter parts in Morosco's 
Burbank company, which 
he deserted for the films. 
He is considered the 
hardest and most ef- 
fective worker at the big 
Universal plant. In 
"The Master Key." one 
of the early serials in 
which h; and Miss Hall 
starred. "Bob" wrote 
the scenarios, directed 
them and played the 
leading male role. 



The North and South 
poles of love, a la Bob 
V Ella. 




■uwt/itiag 

pill) 33VJ Adpun '3.131/ 
'jiitDs 3in foaq SfMBJl 



90 



Photoplay Magazine 




Senior co-stars of the Universal Company and photoplay veterans — yet she is not twenty, and he 

is not twenty-six. 



"It was some job." recounted the author- 
actor-producer. "I spent my nights writ- 
ing the scenarios for the entire thirty reels 
and the entire day all that time was taken 
up in directing and acting. Many times 
I worked all night, quitting in time to get 
ready for the trip to the studio before eight, 
acting and directing all day and returning 
to put in another night at preparing the 
scenario. Rut I much prefer to write my 
own scenarios, as it puts me more in har- 
mony with the characters and action of the 
production. 

"Out of 70.000 feet of film which I have 
produced. I have written, acted and di- 
rected 45.000 feet. In the remainder I 
have only had to act and direct. Seventy- 
eight hours at a stretch without a wink of 
sleep has become easy for me, but it seems 



that the harder I work the fatter I get. 

"That, however, is the only discouraging 
factor. The associations of the past year 
have been particularly pleasant, as I have 
retained the same little company, including 
Ella. Harry Carter. Daddy Manley and 
Marc Robbins. and we understand each 
other so well that the directing of a play 
has been relatively easy and exceedingly 
congenial. 

"Since the Rroadway stars came among 
us. however, directing has not been such a 
cinch. The picture business and tricks of 
the- camera must be explained all over 
again. 

"The public is also coming to pay more 
attention to the director. Heretofore, it 
has been the actor who has reaped most 
of the glory and no attention was paid-- 



"Bob and Ella" 



91 



by audiences in general — to the brains be- 
hind the production. It will continue that 
way in a great measure, but the public is 
beginning to realue that it is the director 
as much as the actor who contributes to 
their pleasure and entertainment. In spite 
of this apparent neglect on the part of the 
public, and the hard work it involves, I 
much prefer directing to acting. It seems 
more worth while, especially when one can 
sit back after a picture is finished and see 
what has been accomplished by thought, 
ingenuity and stagecraft. 01 my little co- 
star. Miss Hall — in my opinion she is with- 
out doubt the cleverest of all the younger 
stars. Her only interest in life seems to 
be to please the public, and her success is 
due as much to her hard work as to her 



attractiveness and ability on the screen." 

It may be mentioned incidentally that 
Miss Hall as a child actress played in com- 
panies headed by David Warfield. Isabel 
Irving, Charlotte Walker, William Elliott, 
Frank Keenan and other noted stars. 

Her most recent successes were in "Heri- 
tage," "Jewel," "The Little Blonde in 
Black" and others, all directed by Mr. 
Leonard. She also starred with Leonard 
in "The Silent Command" and "Shattered 
Memories," a war drama in which she 
showed that she could play an old lady as 
well as a cute kiddie. She also appeared 
with Julia Dean in "Renunciation." a 
Broadway feature, and "That Lass o' 
Lowrie's" with Helen Ware, all under the 
direction of "Big Bob." 



All Ready ! Now the Villain Enters ! Camera ! 




Francelia Billing/on. dramatic lead with the Kcl ia nee— Majestic companies in California, ever since she 
was a little girl was a ' camera fiend. " Her interest in photography led her to her initial posilioi, 
with the Thanhouser studio, where, being seen as a "super" by a critic, she was pronounced "too pretty 
to be lost" and was promptly advanced to an opportunity which, through her own cleverness she has 
improved into that of leading lady. 



The Players from Ocean to Ocean 



ENRICO CARUSO is to become a film ac- 
tor. This news is bona fide, as Andrea Pe- 
rello de Segurola. Spanish bass of the 
Metropolitan Opera Company, is heading a 
company of quarter-million capital to exploit 
Caruso on the screen. H is 
argued that there are countless 
thousands all over the world 
so eager for a sight of Caruso 
that his pantomime will be 
welcome, even though the voix 
d'or is silent. Receipt for an 
orgy : attend a Caruso picture, 
with your phonograph in your 
lap. 

THIS brings to mind the 
oft-recurring r u m o r that 
Mary Garden is to act in pic- 
tures in California, under Tom 
luce's direction. Official an- 
nouncement is lacking, but the 
story has been told many 
times and in many ways. 

CLARA Kimball Young's pet 
is a bear, who shambles con- 
tentedly around after her when 
she is working in any outdoor 
picture. Rears are especially afraid of human 
beings, and have an aversion to women gen- 
erally found only in bachelors who have been 
stung. The press agent says that Miss Young's 
lovable nature and sweet disposition have 
conquered these natural hatreds on bruin's 
part. In our opinion, however, the bear has 
just shown good judgment as a picker of his 
follow-you-around. 

HARRY McRAE WEBSTER, for a num- 
ber of years with Essanay, has joined 
Universal, and will direct King Baggott's pic- 
tures. 



DH WOLF 
HOPPER will 
spend one year in 
Los Angeles, a t 
the Triangle stu- 
dio, appearing al- 
ways under the 
direction or super- 
vision of D. W. 
Griffith. He will 
probably do fea- 
tures based upon 
Don Quixote, Gul- 
liver and Falstaff. 
He hopes to do 
for the literary 
classics what he 
has already done 
for Gilbert and 
Sullivan on the 
lyric stage. 

DUSTIN FAR- 
XUM has gone 
back to the Coast 



for an engagement — probably — of many 
months. His first picture, from the Pallas 
studios, will be Booth Tarkington's "The Gen- 



tleman fr 




Enrico Caruso, famous tenor who 
is to become a film actor. 



Indiana." 

ARTHUR JOHNSON'S 
nation-wide following will 
be glad to hear (hat he is slow- 
ly recovering his health at At- 
lantic City, and hopes to he 
again active before the camera 
in a month or two. 

FRED MACE is now known 
as "the silver king" by bis 
co-workers at the Keystone 
studio in Los Angeles. Like 
the well known and popular 
Prisoner of Chillon, his "hair 
is gray, but not with years." 
Yet, unlike the locks of the 
suffering poetic hero, it did turn 
while in a single night. Mr. 
Mace went home one evening 
with bis hair in its usual youth- 
ful darkness : the next morn 
ing, when he returned, the 
snows of eternal winter 
crowned his peak. The new 




Gcraldinc Farrar and her protege, Margery Daw, of the 
Lasky Studios. 



silver king refuses to dye. 

CHARLIE CHAPLIN recently took his en- 
tire company to sea. The picture necessi- 
tating this more or less piratical voyage was 
"Shanghaied," and the desert island of San 
Clemente. once a fair sheep range, but now 
sticking out of the western blue like a painted 
rock upon a painted ocean, was chosen as the 
spot of his illustrative endeavors. On the trip 
over seasickness was general, and a good time 
was had by all. 

THOUGH on many an occasion and oft the 
visiting prima-donna has picked up the 
local warbler and 
has proclaimed her 
a prodigy just as a 
matter of shrewd 
self-advertisement, 
Geraldine Farrar 
needed no such ac- 
celeration of senti- 
ment when she 
proclaimed little 
Margery Daw, of 
the Lasky studios, 
a soprano marvel. 
Hence Miss Far- 
rar ' s enthusiasm 
may be accepted as 
sincere. The 
prima-donna will 
supervise the little 
California girl's 
vocal training, 
and predicts 
great things for 
her. 



92 



And What They Are Doin£ Today 



FRANK MONTGOMERY has been engaged 
l>y David llorsley to direct the two-reel 
animal pictures featuring Horsley's perform- 
ing collection of beasts. The noted trainer, 
Capt. Jack Bonavita. will work in these pic- 
tures under Mr. Montgomery's 
direction. 



AT 225th street, New. York 
City — one block west of 
Broadway, and overlooking the 
Harlem and Hudson rivers — 
will rise the great metropolitan 
studio of The Famous Players. 
In conjunction with this studio 
there will be an experimental 
laboratory in charge of Gen- 
eral Manager Edwin S. Porter, 
who has already invented and 
brought close to perfection a 
"third dimension " camera. This 
locality is known to upper Xew 
York as "Marble Hill," and in 
the nearby mountain of prime- 
val granite will be hollowed 
a film-vault in which will be 
permanently stored the inval- 
uable negatives of the dramas. 
The Famous Players assert that 
this studio, when completed, will 




Crane Wilbur, who has just changed 
his affiliation. 



the largest 
and most elaborately equipped manufactory of 
motion pictures in the world. A recent mu- 
nicipal enactment in Xew York has barred all 
film manufacturers from what is known as 
the "metropolitan district." 

A XX A LITTLE is now a member of the 
American company at Santa Barbara. She- 
drove her own car over Cahuenga and the 
other passes which cut the coast ranges be- 
tween Los Angeles and Santa Barbara, and is 
now ensconced, with her mother, in a bungalow 
in the city of the mission by the sea. 



IS Max L i n d e r 
alive or dead? 
The great Euro- 
pean "cinema" 
comedian is, ac- 
cording to one re- 
port, wounded in 
a field hospital in 
France ; according 
to another report, 
he was killed Au- 
gust 30th. For the 
comfort of his ad- 
mirers it may be 
said that the 
American P a t It e 
office gravely 
doubts the last ' 
statement. Though 
one of the highest- 
salaried men of 
the stage, and un- 
questionably the 
first screen come- 
dian of Europe, 




Edna Goodrich, back from nursing in the uar zone. 



Linder volunteered at the first French call 
for troops a year ago, and was commended 
for valor at the battle of the Aisne. I le was 
from the Comedie Francaise, and in the year 
preceding the war received, in special dramatic 

engagements all over Europe. 

and from Pathe Freres, more 

than $100,000. 

EDGAR LEWIS, director 
who produced "The Plun- 
derer." "The New Governor." 
and other feature films for 
Fox, has joined Lubin. 

SADIE LIXDBLOM, daugh- 
ter of a millionaire, is the 
novelty in recent photoplay en- 
terprise. Miss Lindblom has a 
studio and a company of her 
own; she understands the cam- 
era; she acts; she directs. AH 
because she wants to. Her first 
release is not announced. 

RAYMOXD HITCHCOCK, 
upon the conclusion of his 
recent Sennett pictures, took a 
family party, including his wife 
and several friends, on a fishing trip to Cata- 
lina Island, twenty-two miles off the Southern 
California Coast. A freight steamer coming 
too close to their launch, it capsized, and the 
Hitchcock celebrities were ignominiously res- 
cued by the crew of a Japanese fishing boat. 

HELEN WARE is now at Universal City, 
where she will appear in a film dramatiza- 
tion of Frances Hodgson Burnett's novel. 
"That Lass o' Lowrie's." 

T P. MAC GOWAN has joined the Univer- 
J* sal company as director. Mr. MacGowan 
is the husband of Helen Holmes, and produced 

"The Hazards of 
Helen" for Kalcm. 
Miss Holmes' re- 
cent serious ill 
n e s s . pneumonia, 
from which she is 
now recovering, 
necessitated a new 
Helen if the 
series was to con- 
tinue uninterrupt- 
ed. Miss Helen 
Gibson was en- 
gaged by the Ka- 
le m management. . 
and will continue 
indefinitely. as Mrs. 
I lolmes- McGowan 
will not return to 
work just at pres- 
ent, and has not 
announced her fu- 
ture plans. Scores 
of admirers await 
her return. 

93 



94 



Photoplay Magazine 



II' LI A DEAN, recently 
J recalled to Broadway 
from Universal City, for re- 
hearsals, was compelled to 
work for more than thirty- 
six hours without sleep to 
finish a picture. On the way 
to the transcontinental train 
she fell asleep in Mr. Leon- 
ard's motor-car, and so 
soundly was she sleeping 
that the big director carried 
her to her compartment and 
then called the maid from 
the ladies' department in the 
station waiting room, and 
had her make Miss Dean 
comfortable for the night. 

The next day he received, 
from Miss Dean, this per- 
tinent telegram : 

"I'm all right, but who 
undressed me?" 



JUNE KEITH cannot 
J wink! Recently an Es- 
sanay director, filming 
"Mind Over Motor," strug- 
gled for half an hour to get 
Miss Keith to close one eye 
without closing the other. 
But she couldn't. 




MELVILLE ELLIS, mu- 
sic and costume expert, 
man-about-town. late artistic 
adviser to the Shubert thea- 
trical corporation, and pres- 
ent adviser in the same 
capacity to Follies-maker 
Ziegfeld. has been engaged 
by Tom Incc to supervise 
the costumes in future I nee 
productions. Mr. Ellis suf- 
fered a nervous break-down 
from overwork last spring, 
and, going to California to 
recuperate, paid a visit to ' 
Geraldine I" a r r a r at the 
Lasky studios. Miss Farrar 
immediately placed him at 
the piano while she played 
Carmen before the camera, 
and in their joint enthusi- 
asm he forgot his illness. 
Ellis also arranged the inci- 
dental music of "Carmen." 



CE.CIL 
l.askv 



•ECIL B. De MILLE. 
director-general, 

is in Xew York conferring 
with the executive offices of 
his company on future pro- 
ductions. 



Helen Holmes and her husband, 



J. P. McGowan 



THE chorus girl market, curb and Claridge. 
is in the throes of panic. Too many chicks 
of Paradise have gone into the gliding pastels, 
say the managers. One Xew York producer, 
wanting sixty girls for a new show, could only 
find ten who had had experience. The rest? 
Picturing, with good chances of permanency. 

NOTRE JOFFRE," French commander-in- 
chief is so firm a believer in the efficacy of 
the motion picture as a thing of record that 
his official cameraman, and usually several 
reel*, illustrating positions, or phases of action, 
may be found at his headquarters. These arc 
taken not for field projection, but as indis- 
putable evidence upon points which 
may be debated. 

CYRIL MAUDE, celebrated 
English actor, has signed 
contract for several fea- 
tures with the Oliver Mo- 
rosco company. The first 
play in which Mr. Maude 
appears is a picturization 
of "Peer Gynt" — also the 
subject of a fiction story, 
illustrated by Mr. Maude 
and the other players, in 
this issue. Cyril Maude in 
"Grumpy" was the biggest 
Xew York dramatic success > ^ 
of 1913-14. Blanche Ring and 
Charlotte Greenwood are also 
■licture-perforniers for Morosco. 
according to their new agree- 
ments. 




EDXA GOODRICH, one 
of an illustrious series 
in the genus Gobdwintts Mutrimonious. has re- 
turned from Europe, where for some time she 
has been acting as a war nurse in the allied 
lines. She has gone to Los Angeles to appear 
in photoplays. 

THE disasters of Keystone merriment! 
Minta Durfee, not long ago wound into 
an especially agile washing-machine with 
which she was professionally cutting up, is 
now out of the hospital — and ready to meet 
another washing-machine. 

AFTER two years unbroken work with 
Komic. in Los Angeles, Fay Tincher has 
chosen the wilds of Broadway as her 
vacation ground. 

II. HAZLETON, who 
claims to be the only liv- 
ing person who actually saw 
John Wilkes Booth shoot 
President Lincoln — he was 
at that time programme 
boy in Ford's theater. 
Washington — has entered 
the movies. He plays a 
part in the new Norma 
Talmadge vehicle. "Capti- 
vating Mary Carstairs." 



HI 



Max Linttcr. reported dead in 
bailie. 



ELF.X BADGLEY, the 

illustrious Thanhouser di- 
minutive, has had her noted "doll 
nursery" increased by a Mexican 
play-baby. The doll Senorita 
came from an admirer in Southern 
California. 



Plays and Players 



95 



FROM Sydney, Australia, 
comes "The Charlie 
Chaplin March and Two- 
Step." It's written by Mrs. 
Pauline Deane. a song-shop 
proprietor. So much for 
syncopated one-toot coiners 
in the Antipodes. 



FRANK BACOX, one of 
the best-known Western 
character actors, has joined 
F. X. Bushman's company, 
and makes his debut in "The 
Silent Voice." 



YOU'RE going to see 
Mack Sennett in two 
pictures, soon. He plays in 
Raymond Hitchcock's forth- 
coming Triangle features : 
"Stolen Magic," and "My 
Valet." Many months had 
"passed, previous to the tak- 
ing of these comedies, since 
Sennett had had a make-up 
on. 




recently a Glendale actor 
before the camera, died 
Aug. 28th at his home near 
Los Angeles. He had been 
with the Kalem company. 



VITAGRAPH is to 
scientific 



have 
and first aid 
departments — chiefly in 
order to render, in a techni- 
cally correct manner, the 
medical and surgical work 
so essential to many pic- 
tures at the present time. 
In addition, the scientific 
department will render first 
aid to any Vitagraph actor 
or actress who may have 
been unlucky enough to 
have been demolished in 
the process of photoplay 
making. 



MARTHA HEDMAX. 
David Belasco's Swed- 
ish star, says that "if every 
actor and actress would take 

a summer in the movies it Anna Little 

would be found an ideal vacation." Such is 
her vacation. She says that the outdoors, the 
vigorous action in sun and wind, combined 
with the assumption of dramatic characters, 
has brought strength to her 
limbs, color to her cheeks, 
and at the same time has 
kept her directly in touch 
with the drama, so that 
when she returns to the 
theatre in the autumn she 
has the sense of never hav- 
ing left it a day — plus the 
physical invigoration of 
months in the primitive. 



SPEAKIXG of personal 
disaster — William S. 
Hart was recently incapaci- 
tated for several days by a 
blow from a property vase. 



BENJAMIN CHAPIX, 
renowned "Lincoln act- 
or" of vaudeville, is to per- 
petuate America's great 
rugged character in an am- 
bitious series now being 
scenarioized by the Charter 
Features. While a series, 
this long and continued 
picture will in no sense be 
a serial. Every picture will 
be complete in itself: but. 
put together, the entire 
croup of photoplays will, if 
carried out according to de- 
sign, present a historic rec- 
ord of Lincoln from pre- 
natal days to the time of his 
death. 



WILLIAM H. WEST, 
formerly a well known 
star in light opera, but more 




Tl__ 
ment of Crane \\ ilbur s 
engagement to David Hors- 
ley was matched by the almost simultaneous 
announcement of his engagement with Thomas 
H. Ince. While it is happily within the power 
of screen actors to play in many cities at the 
same time, no way has yet 
been devised whereby they 
can act in far-separted stu- 
dios at one time. Presum- 
ably, therefore, there is a 
mistake in one of the an- 
nouncements, and either 
Ince or Horsley doesn't get 
him. 



Mi 



IARY PICKFORD was 
the guest of honor at 
the recent Asbury Park 
children's parade, an honor 
never before conferred upon 
an actress. Many of the 
children were dressed in 
Pickford parts. There were 
scores of Mistresses Xell 
and Tesses of the Storm 
Country. Presidents, gov- 
ernors, jurists and legis- 
lators have been guests of 
honor at this great feature, 
but never before has the 
honor fallen to one of the 
theatrical profession. 



Benjamin Chapin 

as 
Abraham Lincoln 



JACK PICKFORD. 
brother of Mary has left 
the Famous Players Com- 
pany and is now with the 
Universal. 




Queen Mary 



MONARCH OF CIRCUS-POSTER- 
LAND, BETWEEN BIRTH- 
DAYS TWELVE AND FOURTEEN 



T 



By Carl M. Thrall 

[ERE is a country, where barns were 
built to put circus-posters on, and the 
clown and equestrienne hold the scepter 
thereof. 

It lies between the twelfth and fourteenth 
birthdays. 

in that land each minute is as long as an hour 
to a kept-in school boy ; each day as full as any 
ecade. after the third. The small boy steals 
Farmer Plimpton's watermelons, and while im- 
mersed in his spoils, dreams of high emprise and right- 
eous endeavor. The small girl, while flirting with Joe 
Mason to make Lefty Hinkel jealous, idealizes herself 
as someone's true love in the years beyond. And so. 
unsuspectingly, they come trooping across the border 
to the land of disillusionment, from which there is 
no extradition. 
In this cavalcade is Mary Miles Minter. 

She is playing, and in a manner, living those 



I 



Mary Miles 

Minter plays, 

and in a meas* 

tire lives those 

adventures 

most little 

girts meet 

only in 

fantasy. 



adventures that most little girls meet only in 
fantasy. And how she plays them ! The im- 
mature wisdom of her enchanting interpreta- 
tions ! The elvish audacity that cozens the 
heart ! We grown-ups steal a little of her 
youth from her. and she a little of age from 
us; and so we love her! And if that were 
not enough, there are those ringlets of 
goldenrod, springing around as pretty a 
face as there is in pictures, and the plump, 
graceful figure, already more than suggest- 
ing the glory of the woman to come. 

She is the youngest star of magnitude on 
the screen. At 13 her name and face 
are known in more American homes than 
those of the cabinet members. Mistress M in- 
ter's first screen productions were "The Fairy 
and the Waif" and "Always in the Way," both 
highly successful. She had been on the stage 
since she was seven, and in the title part of "The 
Littlest Rebel" with William and Dustin Farnum 
took the theatre-public by storm. In fact the play 




Queen Mary 



97 



was developed from a vaudeville sketch 
because of the favor which her work 
brought it. 

Despite her success, the little girl remains 
a little girl. — and unspoiled. The mini- 
ature boudoir which she occupies in a New 
York apartment is filled with dolls. But 
she spends more time with a big mastiff 
playfellow, or Shakespeare's works. 

"I like pictures' better than the stage" 
she said. "Better than anything — except 
mother and grandmother, of course. Some 



day I'm going to play Portia and Rosalind 
and Juliet. Also. I want to play in some- 
thing with danger thrills, with swimming, 
and rides for life, and all. 

"I'm not ashamed to say I want to make 
lots of money too. I want millions of it — 
millions and millions. Then when I have 
a big country place. I will build a lot of 
cottages for homeless waifs, and bring them 
up well and happy. And above all I want 
the public to keep on liking me. because if 
they stop I shall just lie down and die !" 



Kinemadventure 

By WALTER S. CHAPMAN 



"POME, sit by my side, and listen well," 
Said the old, old man to the little 
lad ; 
"There's many a tale that I can tell 

Of thrilling adventures that I have had. 
I mind now. I paddled many a mile 

Where the tide of the mighty Congo 
flows—" 
"I know." said the lad with a beaming 
smile, 
"I've seen that stream at the movie 
shows." 



"I paddled long and I paddled far, 

And far tramped I o'er the jungle sod, 
Where wildest spots of Africa are 

And white man's foot has but seldom 
trod. 
I saw the buffalo plunge and snort 

In the miry fords of the upper Nile — " 
"Yes." cried the boy. "I know that sport : 

It's been in the movies quite a while." 

"And once where the big Zambezi roars. 

As all of its water, downward hurled. 
Into mighty chasm pours. 

A fall so vast that it shakes the world. 



I stood amazed as I watched the sight : 
No greater moment I hope to know — " 

"Yes." said the boy. " 'Twas just last night 
I saw those falls at the movie show." 



"Ahem !" said the old, old man. "No doubt 

It would seem impressive to you to learn 
That I have followed the North Star out 

To lands where the red auroras burn : 
Where the world stands wan in the icy air. 

I have stricken the kingly white bear 
low—" 
"Yes." said the lad. "it's great up there : 

I've seen such hunts at the picture show." 



"Now woe is me!" said the gaffer old. 
"The world of adventure, with all its 
scenes. 
Today on a reel of film is rolled 

And flashed to life on the movie screens. 
My day is past and it seems no place 
Save Heaven remains, where they do not 
go—" 
"I saw." cried the lad. with shining face. 
"A Heaven film at the movie show:" 




"I am come to tell you that I believe in you, " said Sollwcg, simply. Her eyes were sweet with faith. 



PEER GVNT 

Narrated by 

Jane Osborne 

THE TALL OF A WORLD ADVENTURER 
WHO WENT FORTH FOR CONQUEST 
AND RETURNED FOR PEACE. 



Produced by the Oliver Morosco Photoplay Company 



THK great scandal of Ingrid, the 
beautiful, and Peer, die wastrel, is 
still told to visitors who go to the 
beautiful Gudbrandsdal in Norway, 
although it happened almost a hundred 
years ago. They are also told that the 
peaceful villagers' ancestors were fierce Vi- 
kings, who swept like a destructive tempest 
from Norway's fjords to ravage and con- 
quer along the coasts of Europe. Hut the 
visitor notices that this last is related with 
pride, while mention of Peer is always ac- 
companied by a rueful shaking of heads. 
Thus does time and civilization reverse the 
lens that magnifies remote brutalities into 
deeds of valor. 

Peer Gynt was as handsome a vagabond 
as ever lived, and as merry. With his 
coarse trousers held up by a belt of rope, 
his shirt thrown open from a sunbrowned 
neck and an old peaked hat set well back 
mi his bold, up-tilted head, he was a famil- 
iar enough figure to the villagers. But 
they could not make him out. It was told 
that lie had studied at the university and 
traveled much. He laughed at everything, 
bragged loudly and drank much. Ami in 
the whole village there was only one. Soll- 
weg. a daughter of the aristocracy, who be- 
lieved he could do the wonderful things of 
which he boasted. 

Then came the scandal which he brought 
on Ingrid. that stirred the town as it hadn't 
been stirred since the days of Olaf. 

"Ingrid, poor lamb." became the very 
greeting of matrons to each other as they 
wiped tears away with their voluminous 
aprons at that awful time. And among the 
men there were black looks and mutterings 
as they too talked of the disgrace Peer had 
brought to their village. 

The affair was of so much moment that 
a town meeting was called to decide what 
After the Drama by Henrik Ibsen. 



should be done with this young despoiler of 
women. 

"Tell us the truth of it, how it all came 
to pass," begged one of a group of poor 
fishermen's wives gathered outside the meet- 
ing, of a well-to-do village matron, who 
was passing. The woman stopped. "Oh. 
that I should live to know of such a shame 
to our village." she cried, as a flush of im- 
portance reddened down to her ample 
bosom at the chance to again tell the won- 
drous tale. "It happened at Ingrid's wed- 
ding, a fine and costly wedding, you under- 
stand, for the upper classes." 

"Hut we heard there was no wedding." 
interrupted one of the fisherwomen. 

"Certainly a wedding, but no marriage." 
answered the matron, scornfully. "How 
could there be a marriage when the sweet 
bride was stolen right before the eves of 
the bridegroom !" 

At this there was a great outburst of 
sighs. "Before his very eyes," the women 
murmured in awe. 

"Yes. before his very eyes and the eyes of 
all of us." went on the narrator. "We were 
all waiting, you know, solemn like as befits 
the joining of two souls. But although 
everything was ready, Ingrid did not 
come." 

"Not come." echoed the women with 
consternation in their voices. 

"Think you that a maid of Norway may 
not make up her own mind, even if it's to 
change it at the altar?" The matron's 
eyes blazed at such peasant stupidity. No 
one had the courage to answer, so she went 
on. "Ingrid was not sure that she loved 
her man. She refused to go to the altar, 
and afraid lest she would be forced, she 
ran into her father's tool shed and locked 
herself in. Then came that Peer with his 
laugh and his strut and everyone was plead- 



99 




And when lie saw what the 

ing so hard with Ingrid to come out that 
none thought to drive the scamp away. 
And when he saw what the child had done 
with herself, he threw out his hig chest and 
roared with laughter till they could hear 
him out on the fjord." 

"Aye. we heard the bold rascal." nodded 
the fisherwomen. 

"Bold rascal's what he is. And between 
his shouting he yelled commanding like. 
'Stop your sniveling, idiots. I'll get her 
out all' right !' 

100 



child had done with herself he threw out his big 

"Well, we stood there like we'd taken 
root with the excitement and suddenness 
of it all. And before we knew what was 
happening, what d'you think? That devil 
had ripped off the door with his big hands 
and was standing with Ingrid in his arms. 
And there, in the face of us all. St. Swithin 
forgive us. he raises the poor child above 
his head, guffaws once more, and runs off 
to the mountains before a soul can stop 
him." 

A hush fell over the little group. Finally 




chest and roared tvith laughter till they could hear him clear out on the fjord. 



one ventured, "And the poor, sweet maid?" 
- "Two days he kept her, sweet lamb, two 
days," answered the narrator. 

In the meeting the unhappy bridegroom 
was being heard. "I could kill the vulture 
with my bare hands," he was telling sympa- 
thetic listeners. But he made no move to 
find Peer and his listeners knew he would 
not. For the strength of the vagabond was 
a marvel. At that same moment he was 
entertaining himself playing toss with a 
sturdy timber cutter in the village tavern. 



At every thud of the fellow's awkward 
bulk against the rafters of the low ceiling 
the tavern loungers bellowed with roister- 
ous delight. So with one voice the meeting 
voted Peer a menace to the town and sen- 
tenced him to exile. 

And yet Sollweg believed. She would 
not listen to the maledictions of the vil- 
lagers. To her the speech of Peer was 
golden. He had something to tell. He 
had seen things. He was no village clod to 
mumble tremblingly at her. He told her 

101 



102 



Photoplay Magazine 



of adventures that took her breath and left 
her eager for more. 

Sollweg did not know that up to his 
stealing of Ingrid. Peer's adventures had 
been the myths of a dreamer. Nor could 
she guess that those dreams had been in- 
spired from his earliest boyhood by two old 
hulks of Viking ships preserved among 
other interesting relics of the life of his 
country in the capital city, Christiania. 

These two ships were the last of their 
kind. In them had been laid to rest their 
old chiefs with their arms and treasures as 
the early Germanic kings had been buried 
in their war chariots. When other people 
looked at these ships they saw only the 
squat hulks of rotting timbers with their 
distinguishing mastheads where their one 
square sail had been raised with a pulley, 
and wondered how even Norsemen dared 
the open seas in such craft. But that 
wasn't what Peer saw at all. To him shin- 
ing dragon's or bird's heads still gleamed 
at the prow, and strong men with fiery blue- 
eyes and flowing hair stood with glistening 
spears and shields as they sailed for con- 
quest out of the fjords. With an inner ear 
he heard the prayer of those terrible times 
going up from the coast villages of Eng- 
land, Scotland and France, and each prayer 
translated into the same words. "Prom the 
rage of the Norsemen, deliver us. O Lord." 
And these conquests in the past fired a fever 
in the blood of this stripling's stalwart 
body and resourceful brain to go conquer 
and pillage and grow rich as the fierce men 
of the fjords had. The queer situation at 
Ingrid's wedding had given him his first 
opportunity to show his prowess, and his 
success was the taste of blood that proved 
to him he was a Viking too. 

The first day of his banishment to his hut 
in the mountain wilderness, Peer gave over 
to plans for further outbreaks. In the 
midst of a reverie, he looked up at the 
sound of a gentle voice and his amazed eyes 
saw Sollweg. The girl had braved every- 
thing, the contempt of her equals and the 
hatred of the lowlier villagers, to follow 
Peer and offer him her sympathy. It was 
well for her that she did not understand 
the glazed light in his bold eyes and the 
rush of red to his temples as he started to- 
ward her. 

"I am come to tell you that I believe in 
you," said Sollweg simply. There was a 
shining light on the girl's face. Her eyes 



were sweet with faith and childlike purity. 

Peer heard and saw at first as if from a 
distance. Then the film of his hot gaze 
cleared and the timid words took meaning. 
The despoiler in him was stilled for the 
instant, as no doubt it was at times in his 
earlier prototypes when some almost victim 
looked steadfastly with modest yet fearless 
eyes into the fierce glare of a marauding 
Norseman. He advanced with a swagger 
and took both of Sollweg's hands. 

"Dear lady, you are kind," he said. 

Sollweg was radiant at the praise. "I 
know you would not harm Ingrid," she- 
went on triumphantly. "Vou are too strong 
to injure the weak. Vou are more than a 
match for the strong." 

Peer heard with delight this sop to his 
vanity. Little did he care that Sollweg's 
estimate of him regarding Ingrid was not 
true. He was strong, strong. That was 
the thing. He could dare and he could do, 
and his blood sang and surged within him. 
He was again the braggart already looking 
for bigger fields to conquer. He threw out 
his chest and burst into one of his resound- 
ing guffaws of laughter. 

"Right oh. little Sollweg." he cried, "my 
thighs would wither and my arms decay 
into mere bread handles if I stayed here in 
this loutish valley. There lies the world 
full of wine and gold, and Peer's going to 
have his share." And with a tightening of 
the rope around his waist and a toss of his 
peaked hat. he strode down the mountain. 

Sollweg neither cried out nor ran after 
her only protector in this lonely wilder- 
ness. Her heart was heavy but her mood 
was high. She stood watching her hero off 
to danger and glory without a word. For 
through that mysterious working of throw- 
backs, by virtue of which a child sometimes 
resembles a great-grandparent more than 
the nearer progenitor, in Sollweg as in Peer 
lived again the spirit of some Viking an- 
cestor hundreds of years dead. 

Now Peer had neither money nor credit. 
Put ships always need crews and was there 
not wealth just over the sea in the new 
world? So with the first fall of next win- 
ter's snows the jaunty scarecrow figure that 
had marched so confidentlv out of the 
mountains of Norway, marched quite as 
confidently into the mountains of western 
America richer only by a dog and a gun. 
And with unerring wit Peer built his log 
hut where the deer ran thickest to a nearbv 



Peer Gynt 



103 



saltlick, and there began his life anew. 
"1 must take a good look at this country 
from a high place," laughed the vagabond 
to himself as he contentedly bit huge, juicy 
chunks from a piece of venison while he 
sprawled on the hearth of his rude fire- 
place. •'Plenty of time, hey, old growler?" 
lo the dog standing alert and grumbling 
deeply. The next instant Peer's door was 
pushed open and two Indians slipped in 



and stood watching him with folded arms. 
Peer first swallowed a piece of meat, 
then burst into shouts of laughter. "Take 
a chair, you stone images, take a chair." 
he called and pointed to the floor. 

"Meat for sell?" inquired the younger 
quietly, without unfolding his arms. 

Peer's hail-fellow-well-met soul ex- 
panded at once. He pointed to a quarter 
of venison hanging from a log rafter and 
waved the Indians to help themselves. 
Xor would he take any money for it. 
That was the beginning of Peer's 
career as a fur dealer. The Indians led 
him to their camp and showed him 
their trapline. 

The brutality of his nature and the 
strength of his arms and legs made of 
Peer a capital trapper. He could Iook 
on the agony of a wild thing trying to 
chew its crushed paw loose from a 
trap with a laugh. He played with 
the tortured animals as a cat ■ would 
with a mouse. And his cache in 
a cave, unknown to the Indians, 
grew steadily against the time 
when he should set out over the 
mountains for fortunes new 
with pelts he stole. His in- 
satiable lust to outdo his 




kind friends of the forests set that time. 
In the tribe was a straight, glossy- 
haired maiden named Notanah. As she 
grew to the time when she could weave 
her own blankets the young brave of 
Peer's first meeting with the Indians 
selected her for his own. Immediately 
Peer was asurge with the desire to take 



104 



Photoplay Magazine 



Notanah from her lover. He entered her 
tent one day just as the young brave came 
into camp. A few minutes later. Peer was 
making for a canoe he had hidden in a 
clump of trees much as he had made for the 
mountains when the good people of (Jud- 
brandsdal had chased him from their vil- 
lage. He started downstream like an 
arrow. A paddle was shot from his hand. 
But the vagabond in him had foreseen such 
a contingency and had made him provide 
two paddles. 

And where away? Out of danger first; 
then back to his cache as the night came on, 
for Peer was athirst for riches and he 
would have braved a rain of bullets rather 
than lose his capital of silky pelts he had 
hoarded for his start. 

As the years went by Peer became known 
along the Mississippi, around the (lulf and 
in the slave markets. Everywhere he rois- 
tered his way along with never a friend to 
his name. His all-night game was well 
known on the river packets and many a 
planter's profits eased his way. He was 
the kind of auctioneer who could talk up 
the charms of a slave girl till her price 
went to double what had been expected. 
And he could outdrink and neatly strip the 
pockets of any traveler, who had drifted to 
the levees. But where was the wealth 



lie had promised Sollweg and himself he 
would wring from others in the great 
world? This was only a living. 

( Ine day while prowling on a southern 
coast hunting for a runaway negro, he came 
out on a point overlooking a lonely stretch 
of sea. Two boats were out there, one a 
Government cutter and the other an inof- 
fensive looking tramp. The Government 
boat seemed to be chasing the nearer ship 
and Peer stopped in his own hunt to watch 
the race. 

'"By the gods, will you look at that !" he 
cried suddenly to the vacant air. And 
there was surprise even in his bold, hard 
eyes. 

The little ship had been losing in the 
race. She was then passing Peer's point. 
Her course kept her land side completely 
screened from the pursuing boat, and all at 
once scuttle holes in the hulk opened and 
negro after negro, some fifty or more, were 
hurled out into the water. A stone was 
tied to each one's leg and they sank like 
gigantic bullets. 

This avalanche of death was over in the 
run of a few boat lengths. The openings 
were neatly fastened and the little ship 
slowed down as if tired of her speed spurt. 

"God. but that was neat." commented 
Peer. "And if they search her now what'll 
thev find? 



'Oh. man of holiness, thou lovest 
me not!" sighed Anitra. 




Peer Gynt 



105 



"Why, they 
won't even blun- 
der on that belly 
hold. And if they 
do, what's there? 
Nothing." And 
his great guffaw 
rang over the wa- 
ters. He began 
at once to figure 
how many ships 
he could muster 
to smuggle na- 
tive Africans into 
southern slave 
markets. 

The next ten 
years were golden 
to the new slave 
trader, who evad- 
ed the law in and 
out of Charleston 
harbor. On shore 
he was the pic- 
tur es q u e ship 
merchant, ready 
with a blow or an 
oath or worse, his 
coarse laugh. But 
it was on those 
long, perilous 
trips back and 
forth to the Afri- 
can coast that his 
hated mirth rang 
long and loudest. 

"Come up out 
of that, you beaut." lie yelled one day as 
he kicked a negro girl of fine physique, who 
was shackled to an iron bar in the lower 
hold of his vessel, as were scores of other 
negro women and men. He had picked on 
this girl since the beginning of the trip 
because a splendid young African had 
escorted her on board the ship, where he 
and the best of his tribe had been enticed. 
With his huge hands lashed to an iron bar. 
the African now panted in anger. 

"Come along." shouted Peer again. 
This time he dragged the girl to her feet 
and slapped her face with the flat of his 
hand. The girl tottered and Peer caught 
her in a nauseating embrace. 

There was a growl behind him but he 
paid no heed. The enraged African was 
crawling nearer, pushing Ids iron weight 
before him. He strained and heaved. At 




He saw her silvered where he had left her golden . . 
. . . the smile of love on her lips had never changed. 



last he had done 
the superhuman 
thing of lifting 
the bar a few 
inches. Then he 
let it fall on 
Peer's broad feet. 
In an instant 
the slaver was a 
m a d m a n. He 
kicked and 
mauled the Afri- 
can till he was 
broken an il 
bleeding. Then, 
in the blindness 
of his wrath, he 
opened a scuttle 
hole and. without 
a precautionary 
look around, he 
threw the man- 
gled mass of flesh 
overboard. 

That was the 
beginning of the 
end of Peer's 
amassing gold by 
killing the souls 
and bodies o f 
men. For a rev- 
enue cutter had 
hove in sight and 
that dark object, 
hurled from the 
innocent looking 
ocean trader, was 
seen. The chase was hot, but with full sail 
set. Peer got away. 

That started the authorities snooping. 
And soon after, Miss Annabelle Lee. a se- 
cret agent, was set to trap him. 

"How I do love the sea," bubbled Miss 
Annabelle on her first visit to Peer's dock 
office, ostensibly to get the prices on 
freight-carrying for a cotton firm. 

Peer gloated as he took in the snap of 
the girl's brown eyes and the whiteness of 
her neck against the dusk of her hair. "I 
have many ships — quite at your service," 
he said. 

"Truly, at my service?" murmured Miss 
Annabelle. with an impulsive little clap- 
ping of her hands. 

"Never lose time is my motto," answered 
Peer with bland exuberance. "My very 
best ship is in." And he rose. 



106 



Photoplay Magazine 



"Oh. not today." parried the girl. "Not 
till we know each other much better." 

The sugar in that refusal was sweet to 
Peer's egotism, as Miss Annabelle knew 
quite well it would be. For she was one 
of the pioneers of a certain class of pres- 
ent-day business women, who depend on 
their personalities for their success but are 
said to know when to stop. So it was only 
a short time till the girl and the slave mer- 
chant knew each other much better and 
Peer was again infatuated. 

"Do you know." and Miss Annabelle 
paused on the "know" as if she had found 
out something very secret, "do you know 
that in this very harbor there are slave 
ships ?" This opened a chat two weeks 
later with her braggart admirer. 

Peer answered with an amused roar. 

"You do know and you've never told 
me," pouted the girl. "Well, there's only 
one way to make up for it. and that is. 
show me one." 

"I'll do better than that." with a cocky 
pose. "I'll give you a nice little dinner on 
one if you'll come." 

"To-night." cried Miss Annabelle with 
glee. 

He took her to one of his own. 

The federal officers who raided the ship 
during that meal were sick with defeat and 
horror for days after. Some signal went 
wrong and the slave trader heard them in 
time to lead their pursuit of him down into 
those under-depths where the reek of the 
foulness of chained humans overpowered 
them, and Peer disappeared from their 
view through one of the scuttle holes 
through which so much agony" had gone be- 
fore him. 

But his hands were not tied nor his feet 
weighted, and a ship and hoarded wealth 
were ready. So he slid down the channel 
under cover of the dark to sail wherever 
adventure called him. 

His last great fiasco was in the land of 
the Arabs. While ashore his ship blew up 
and left him stranded. But Peer, the wan- 
derer, was not dismayed. He set out less 
fleet of foot than when a youth, but still a 
man of unbelievable vigor. He came upon 
two slaves about to steal the white horse 
and accoutrements of a sheik. So he killed 
the slaves and did the stealing himself. 
Then he set forth into the desert. 

The Arabs' superstitition that their Mes- 
siah would sometime come to them on a 



white horse turned Peer's thief flight into a 
triumph. When the stalwart, white- 
bearded stranger came riding on the milky 
animal into their midst, they received him 
reverently. 

This time Peer muffled his laugh in his 
beard. He was flattered with the worship 
of himself and acted his part. But his love 
.if conquest could not be stifled when he 
beheld Anitra, an Arabian beauty. Straight- 
* way he was at her feet and she was quick 
to recognize him as an impostor. 

"Oh. man of holiness, thou lovest me 
not !" sighed Anitra one day as she leaned 
her supple body against Peer while they re- 
clined on -a velvety carpet in her courtyard. 

Peer ran a hand down her naked arm. 

trembling to grasp the soft flesh. "Not 

" love thee." he cried. "I would drink thy 

tears as I do thy smiles if they should 

gleam from thy heavenly eyes." 

The beauty scoffed. "How can'st thou 
say thou lovest me when never hast thou 
invited me to sit on the back of thy won- 
derful horse ?" 

Peer clapped his hands and a servant ap- 
peared. "Have my horse saddled with a 
cushion of white velvet." he ordered, "and 
make haste." 

After Anitra was seated in her saddle of 
velvet, she asked coquettishly for as much 
gold as she could carry. Peer was in the 
seventh heaven at her mood. He ordered 
the gold brought and himself piled her lap 
with the precious coins. And when it was 
filled with his whole store. Anitra set spurs 
to the horse and left Peer to explain his 
Messiahship without his horse as best he 
could. 

And now the betrayed and ruined vaga- 
bond began to think once again of Sollweg. 
the peaceful Gudhrandsdal and his hut in 
the snow-capped mountains. He was an 
old man and adventure had lost its savor. 
He wandered in loneliness and want till 
finally again he entered his native valley. 

Here he found all much the same as 
when he left. But he passed all landmarks 
without recognition. For though he was a 
straight, sturdy old man. the swagger and 
strut of the youthful Peer were gone. He 
stopped an old woman on the village street 
and asked if she know of Sollweg. 

"Sollweg?" she cried, at once aroused. 
"Sollweg is not here. Who does not know 
that Sollweg broke the hearts of her people 
when she went up to the hut of a scalawag. 



Peer Gynt 107 

Peer Gynt, and would never come back to of his former springiness into Peer's step, 

comfort them?'' He crossed the valley and climbed the 

"Sollweg still at Peer Gynt's hut." mountain with eagerness. And as he ap- 

shouted Peer, with a trace of his former proached. there, in front of the hut. sat 

cockiness. There was a tidbit for his van- Sollweg with the smile of love still on her 

ity. a tribute to his magnetism! lips. Only he saw her silvered where he 

The old woman wiped her bleared eyes had left her golden. And after he had 

on her apron and peered sharply into the dropped down weary* and told her all his 
stranger's face. Then she turned abruptly . wanderings and adventures and brutalities, 

and tramped on. A little farther up the the smile of love on her lips had never 

street she stopped to point out Peer's dis- changed. For had not a Viking, strong 

appearing figure to a group of villagers. and fierce, gone out from her? And now 

••Aye." she mumbled in her native idiom. her biased gaze beheld him returned, a 

"men. like chickens, come home to roost. deity fit to climb the bright rainbow bridge 

There goes that devil. Peer Gynt." of the sky and dwell with the gods in their 

What the old woman had said put some borne in Asgard. 



L'Envoy 

By FREDERICK PALMER 

(Generously accepting Kipling's apologies 
for tempting me to do it.) 

"VIT^HEN Earth's last movie is taken. 
" And the film is developed and dried, 
When the oldest camp is forsaken. 
And the youngest "extra" has died. 
We shall rest, and faith we shall need it. 

Lie down for an eon or two. 
Till the Master Director shall call us. 
And command that we "make up" anew. 

And those that could act shall be happy. 

They shall never arise before noon, 
Their locations shall all be in Eden. 

They shall work by the light of the moon. 
And only Archangels shall help them. 

The Saints shall respond to their call. 
They shall make but one scene in a century. 

And never be weary at all. 

There nothing but praise shall be printed 

In reviews of the films they have made ; 
And nothing but diamonds be given 

Each hour, when the actors are paid ; 
Each one. in joy and contentment. 

To his home in some separate star. 
Shall motor, a cherub to drive him. 

A "million-horse" comet his car. 



The New Curriculum 




.0 HAROLD DECIDED HE HAD WONDERFUL 

DRAMATIC ABILITIES - 



@ SO HE TOOK A CORRESPONDENCE 

COURSE IN MPTI0N_PICTURE ACTIN&. 




THAT HE WAS ASSIGNED TO LEAOINO 
BUSINESS 



«£S°«&& BKN WITH TrtE STOCK COMPANY 

l*»tn OINLL i 



106 



Some peeps into the higher erudition. 



Investing in the Movies 

THE FOURTH OF A SERIES OF ARTICLES BY A RECOGNIZED 
AUTHORITY ON THE FINANCIAL END OF A GREAT INDUSTRY 

By Paul H. Davis 

LJ UNDKEDS of requests have been received by the editors of PHOTOPLAY 
■*■■*■ MAGAZINE from persons who contemplate investment in moving picture 
companies and who seek' advice on the subject. In many cases investigation showed 
that these people were being solicited to invest money in concerns that, in the face 
of existing conditions, did not have one chance in a liundred to succeed. In his first 
article {in the August number) Mr. Davis gave a clear statement of the fundamen- 
tals of picture manufacture and sale, and sounded a warning against the wildcatter. 
The second article explained the sensitive, mercurial character of moving picture 
stocks, and indicated the safest manner in which to make selections from the market. 



IS my recent articles on "Investing in 
the Movies." I have emphasized the cau- 
tion that you as an investor must exer- 
cise in selecting the movies as a place 
for your hard-earned money, but I don't 
want you to get the idea that the motion 
picture business is not a real industry. It 
is, without a doubt, not only one of the 
most romantic industries of the day, but is, 
commercially speaking, one of the great 
industries of the nation. 

A few years ago we all classed motion 
picture ventures along with circuses and 
side-shows. Few of us would have for a 
moment dreamed that in 1915 there would 
be over 20,000 motion picture theaters in 
our country alone, amusing millions of fans 
every day. This phenomenal development 
has come about, not so much because of the 
judgment of the men in the game and their 
careful planning, but because the business 
is basic. 

Many of the so-called big business men 
of the country are gradually becoming in- 
terested in this industry. They naturally 
move cautiously, but they realize that mo- 
tion pictures arc here to stay. They appre- 
ciate that the business is rapidly changing 
each day and know that the changes are 
hard to anticipate. They are sure, how- 
ever, that the industry has those elements 
that make it not only great for the time 
being, but that insure its permanence. 

It was recently said by a motion picture 
millionaire, who is a keen observer of peo- 
ple : "Everybody has to be amused in some 
way and most of us will sacrifice anything 
except food to be amused. We all want 
to cret the most for our monev. There is 



no place where one can get more amuse- 
ment for his dime or quarter than at a mo- 
tion picture theater." 

That is the keynote of one of the great 
factors of stability of the motion picture 
business. Movies supply a natural demand 
and give value at a low price. 

THE automobile business, which is often 
■*■ compared to the motion picture business, 
is a great industry that has had an unusual 
growth in about the same period that the 
Movies have developed. But automobiles 
come within reach of a comparatively small 
group of people. The Movies are in reach 
of all. Any business that is founded on 
dimes and nickles and a natural demand 
for play is bound to succeed. 

Convenience is another item that make-- 
for permanence. After dinner is over about 
the first thing you think is "Where shall I 
go this evening?" You can't wander very 
far from your home, wherever it may hap- 
pen to be. without bumping into a moving 
picture theater. If you had to get on the 
car and ride downtown to see a Movie 
show you would not be the fan that you are. 
The facts are that you have neighborhood 
theaters — that you patronize them — and 
that you grow more enthusiastic every day. 

If you felt obliged to spend your whole 
evening at the Movies, as you do when you 
spent two dollars at a legitimate theater. 
you might not go so often. But you don't. 
You are sure to see a variety of reels, sev- 
eral complete stories. You feel that you 
can break away whenever you wish without 
losing what you paid for. 

You get real value for your money at the 

10" 



110 



Photoplay Magazine 



Movies — an entertainment worth a great 
deal more than you pay. As I have indi- 
cated in other articles, the business is so 
constructed that one production made in a 
most expensive way can be reproduced and 
distributed all over the country. This wide 
distribution scatters the cost of each par- 
ticular reel so that you are able to see a 
mighty fine article at a ridiculously small 
cost. This is a characteristic of a basic 
business. 

J DOUBT if there is any one public in- 
stitution, unless it be the newspaper, that 
has the wide scope that the movie has. Its 
influence is a factor in every village in the 
country that is on the map. This influence 
is almost without exception a good one. 
Photoplays that are not clean are rare. 
Some of the first films were occasionally 
risque, but you and the rest of the public 
won't stand for pictures that the children 
in your family should not see. No manu- 
facturer will risk losing your good will by 
trying to show you pictures that are not 
right. The motive back of the Movies is 
for clean amusement — a factor in success. 
If someone tried to pass a law prohibit- 
ing motion pictures you would be up in 
arms immediately. You want them to stay. 
And as long as you demand movies you 
will have them. Can you conceive of any- 
thing that would change vour liking for 
films? 

Millions have been invested in all 
branches of the motion picture industry — 
from factories to theaters. Literally thou- 
sands of able men have analyzed the situa- 
tion and have wagered their money on the 
permanance of the industry — appreciating, 
of course, the element of risk that comes 
through the changes from day to day. The 
concensus of opinion is that the business is 
still only in the beginning of its develop- 
ment. It is growing each day and extend- 
ing its scope. Probablv some day your 
children will be educated by films. 
Thomas Edison believes this. 

nPlIl-'. big business specialists — men who 
* know in the industrial world — have 
made note of all these facts about the busi- 
ness that you. too, have observed. These 
are the elements of success that may have 
made you impatient to get your savings 
into the business. These business experts, 
however, have looked still further and vou. 



too. should thoroughly know your chances. 

The whole industry has developed so 
rapidly that it has never had time to catch 
up with itself. There has been little time 
to systematize it. Its methods have been 
exceedingly wasteful.- — disastrous in many 
cases. 

I know of one company that a few years 
ago made enormous profits out of single 
reel pictures. Along came the public 
demand for feature films. This concern 
was not organized for producing features 
and the attempt to get its factory in shape 
to meet the new demand put such a crimp 
in its bank account it is still convalescing. 

lWI A N V of the new concerns that are 
organized, by men with good inten- 
tions, are trying without experience and 
sufficient capital to break into this game 
that puzzles the old timers. In most 
instances the old adage about fools and 
angels won't apply. 

In one of our greatest cities last year 
over twenty new banks were opened. These 
under State supervision with good men 
back of them. Few arc meeting with any 
degree of success. 'The banking business 
in this city is. of course, a basic business, 
no business more staple. 'The trouble is 
that there are more banks than are needed, 
— so it is in the motion picture business. 
'There is nothing wrong with the industry 
as such, — it is great and absolutely funda- 
mental. But there is danger of over- 
expansion and over-production,- — too many 
theatres and too many films. If you live 
in a large city, it may interest you to con- 
sult the records in the office of the clerk 
who issues licenses for motion picture the- 
atres. Vou will be surprised to see the 
number of theatres that have been forced 
by competition to go out of business. There 
is some danger that the concern you plan 
to invest in may be one that can't face the 
competition that is getting keener. 

Many conservative business men like the 
"watchful waiting attitude." 'They want 
to see the business get settled and system- 
atized before breaking in. By such waiting 
they may lose the opportunity of making 
big money, but they doubtless will not lose 
the money they already have. If you think 
you can pick the winners in this great 
industry. — go ahead, but first appreciate 
that you are becoming a partner in a busi- 
ness that moves at a breathless pace. 



The Face That Drives 



ITS POSSESSOR, BRENON: THE EMO- 
TIONAL GENIUS OF FOX MELODRAMA 

By Johnstone Craig 



O 



N a very warm afternoon late in July. I stood in the glass 
tudio which tops the Pathe-Fox building on the west hank 
of the Hudson river, watching the taking of a feature, 
tersely named "Sin." 

Only the entrails of a battleship, running toward or 
away from a foe. might he hot- 
ter than a glass studio on 
a summer day. Every 
pane seems placed 
especially to focus 
the rays. There -is 
no ameliorating 
breath of air. 
There is just 
light, light, un- 
relieved light 
and its sister, heat : 
and when these are 




/ was compelled, fascinated, 
carried completely out of 
myself by the emotional ' 
tornado of " The Face 
that Drives. " 



l\ 



111 



112 



Photoplay Magazine 



accompanied l>y an aural incense of tropic 
music, the personal temperature of a hun- 
dred supernumeraries, and the emotional 
fire of heavy drama, the melting total lias 
some claim to comparison with a Bessemer 
converter. 

It was hot, hut I did. not feel the heat, 
just then. Other people had capillary 
brooks coursing their cheeks, too, but they 
didn't stop to mop them. I saw only one 
thing ; I felt the force of a single vision ; 
1 was compelled, fascinated, carried com- 
pletely out of myself by the emotional 
tornado of 

The Face That Drives. 

Herbert Brenon, the personality owning 
the face, is a slender, physically light 
young man of middle stature. His force is 
a spiritual force, but more than any director 
L have ever seen, does he live, embody and 
detailingly exemplify each character in the 
play, male or female, young or old. grave 
or gay. He burns himself up with every- 
body's passion. If the leading lady 
climaxes in a paroxysm of rage, grief or 
hysteria, Brenon is swept by half a dozen 
or eight emotional tornadoes as he shows 
her how. Does anyone die terribly, he dies 
terribly anywhere from one to ten times. 
Is there a cry wild as the clanging of 
swords, he shouts until his voice leaves him 
in the silence of throat collapse. 

"Sin" is a photodrama extraction from 
Wolf- Ferrari's "Jewels of the Madonna." 
In it a Sicilian lover, choosing between 
heaven and a promiscuous but fascinating 
smile, steals the gauds of the Blessed 
Virgin from the statue's throat in the still 
sanctity of tile village church. The tragedy 
would not be true to type did not the ven- 
geance of God and man follow swiftly. 

Brenon. this day. was doing the scene of 
the wanton's discovery with the holy jewels 
upon her jliroat: a discovery made by a 
horrified populace in the midst of a riotous 
fiesta. The dramatic contrasts of these epi- 
sodes were sharp as white against black. 

Theda Bara as the unholy woman strug- 
gled almost to the fainting point to please 
her exacting general. 

No group of Yankee Neapolitans sur- 
rounded her. Every man and woman was 
of Italy ; Brenon's imprecations and adjur- 
ations, shouted in English to the principals, 
were repeated over his head by a boy trans- 
lator with a football megaphone. It re- 



minded one of the prompter's box at the 
opera. 

Do I give the impression that Mr. 
Brenon is a scene-chewer, a vocal high- 
e.xplosive gun, a genius of pandemonium? 

If so. 1 apologize. Brenon is the quiet- 
est of men, and in his scenes with individ- 
uals — not with crowds, such as this — his 
directions scarcely carry a yard. He im- 
plores in whispers, commands witli the 
briefest gesture. 

Here, in a broil that would wilt a marble 
statue, he had to convey tremendous and 
violently contrasting emotions, not to one 
but to a hundred individuals; not to his 
countrymen, or even to his companv. but to 
strangers who could not understand a word 
lie said ; not once, nor twice, but again, and 
again, and again — and in the melting heat. 
more and more, and harder and harder, 
until it seemed pitiful and useless, enraging 
and hysterically funny. 

What with the music, and the noise of 
many feet, and general confusion. I think 
they heard few of the translator's phrases. 
But they could not mistake a mobile 
countenance that spoke a universal lan- 
guage ; they could not misunderstand a 
man who laughed, and cried, and towered, 
and cringed, and appealed, and com- 
manded, as though he were a Latin instead 
of an Irishman. They too went forward at 
the behest of The Faec That Drives. 

He was as unsparing in compliments as 
in genteel curses. 

"You are wonderful ! Wonderful !" lie 
cried to the Latins before him, not waiting 
for the interpreter. And to a principal: 
"Why. Mr. Blank — why, I ask, can't you 
be a human being instead of a block of 
wood? You. a Catholic, have discovered 
the infamous sacrilege of this woman even 
as she comes to your arms. You repel her 
with a gesture as horrified as if you were 
declining a plate of soup. Are you asleep 
or are you sick? For Heaven's sake'.'" 

And a moment later to one of the mob 
he had just petted and praised : "You — 
('lit.' Yes, you ! You understand what I 
mean! And if there is any other here who 
came to show a white flannel suit or a styl- 
ish skirt — get out now! Interpreter! I 
beg you to tell that dunce that if he doesn't 
get off that balcony, and stay off, and get 
.out of the scene. I'll throw him off this roof 
myself!" 

And the proud possessor of the white 



The Face That Drives 



113 



flannel "pants" 
passed trembling 
into private life. 
His was a high trag- 
edy of gala clothes 
and nobody home. 

Brenon is- the .v in 
Fax; 

He has been the 
unknown dynamo 
behind melodrama 
after melodrama. 

Under his direc- 
tion, in "T h e 
Kreutzer Sonata." 
Nance O'Neill 
made her debut as 
a screen star. The 
piece w a s epoch- 
making in its simple 
and terrible power. 

His. also, was 
"The C'lemenceau 
Case." in which Mr. 
Shay and Miss Rara 
were co-stars. His, 
too, is "The Soul 
of Broadway," a 
feature in which 
Yaleska Surratt is 
prominent. 

Most often the 
details of a man's 
life are innocuous 
and wearisome. Sometimes a 
career is varied enough to lie so 
romantic that it beats fiction. 
Such is Herbert Brenon's. 

He was born in Dublin in 
1880. His parents still live 
His mother is with him 
constantly : a woman 
who bears her sixtv-six 
years with the grace 
of a true grandc 
dame, and w hose 
knowledge of the 
world, of books, of 
society, of lan- 
guages, is colossal. 
His father. Edward ! 
St. Tohn-B~enon, is a 
poet of some note, and 
is editor of two London 
literary papers. H i s 
brother. Algernon St. John- 
Brenon. is music critic of the 




A recent photograph of 

Mr. Brenon; beloiv, the 

infant direclor in his 

mother's arms. 




New .York Morning 
Telegraph, and is 
by many regarded 
as the best operatic 
reviewer in this 
country at the pres- 
ent time. 

Herbert, the fu- 
ture director, was 
educated at Eton, 
and at King's Col- 
lege. London. 

At 14, he organ- 
ized a school dra- 
matic society, wrote 
his o w n penny- 
dreadfuls, and acted 
in them. 

At 16, he came to 
America and tried a 
new sort of life in a 
real-estate office in 
Pittsburgh. In this 
office he became a 
fairly proficient 
typewriter engineer 
— a decided asset in 
later years. 

He expected pro- 
motion, and got 
fired. 

He next deter- 
mined to join the 
United States Army, 
where he would at least have 
three squares, and $13 a month. 
He was not a citizen, but. has- 
tening to swear out his first 
papers, he discovered that he 
lacked the necessary dollar, 
and couldn't borrow it. 
v Thus, perhaps the lack 
of a hundred cents de- 
prived the world of a 
second Napoleon. 
Had Brenon gotten 
into the army, we 
might be in this 
war. 

Later on. his mil- 
itary ambition hav- 
ing waned. Brenon 
got money enough to 
return to New York, 
and he became a booking 
agent's office boy. Being an 
office boy, in one enterprise or 



114 



Photoplay Magazine 



another, seemed in those days liis high 
mark of efficiency. 

Finding $4 a week a ralher slender wage 
on which to maintain his social position in 
the metropolis, young Mr. BrenoD joined 
Litt's "Sporting Life" as a supernumerary, 
and thus introduced himself to the truly- 
truly stage. 

He found little trouble in making the 
Saturday matinee, as his employer always 
closed his office Saturday noon. The Wed- 
nesday matinee was his black beast. 

The first Wednesday he was ill. the 
second Wednesday his mother was ill. and 
the third Wednesday an ancle departed 
this vale of tears. 

While attending his uncle's obsequies he 
glanced toward a stage box. and was horror 
stricken to meet the cool eyes of his em- 
ployer. 

He did not bother to return to the office 
on Monday. At that moment he embraced 
the stage as a profession. 

His next experience was with the late 
Augustin Daly. lie became Daly's call 
boy, and a year later joined Walker White- 
side, playing forty weeks of one-night 
stands in "Hamlet." 




hi his scenes with individuals Breiwu is the quietest of men. He 
implores in ivhispers. 



"If 1 have executive ability." says the 
director. "I owe much of its development 
to Mr. Whiteside.'' 

Following this, he became assistant 
director in Dick Kern's' stock company in 
Minneapolis. There Mr. Ferris and his 
wife taught young lircnon to do every- 
thing about the theatre quickly, quietly, 
efficiently. 

There, too. he met Miss Helen Downing, 
at that time a non-professional. She be- 
came his wife. They have one son. Cyril. 
9 years old ; he has recently appeared in 
two of his father's ph (toplays. 

Brenon was determined to make an 
actress of his wife, but she did not believe 
she could act until the time came when" a 
financial exigency demanded her services. 
Then, with her husband in a Southern 
stock company, she made some brief but 
successful appearances. 

Mr. and Mrs. Brenon went into vaude- 
ville, stayed three years, and, with their 
savings, bought a picture theatre in Johns- 
town. Pa. 

He became a very successful exhibitor, 
recovered his original investment, added to 
it. and sold out. two years later, at a good 
rise. 

He had determined to reenter the 
artistic side of the drama, and to re- 
enter it, this time, through a screen 
door. 

Bringing his wife to New York he 
secured a position as scenario editor 
with Universal. 

Six months later he produced his 
first picture. It was "Leah, the For- 
saken." Its quality may be noted 
when it is known that, after many de- 
mands, the Universal company has 
just reissued it. 

From this time he has directed 

exclusively. Following "Leah," 

Universal sent him to England, 

where he made a four-reeler, 

"Ivanhoe." 

Then came "Absinthe," with 
King Baggott. and following 
that, the biggest American-made 
success previous to "The Birth of 
a Nation"- — "Neptu te's Daugh- 
ter," written by Leslie T. Pea- 
cocke. produced by Brenon. 
with Annette Kellerman as 
heroine, and Brenon as 
heavy. 



The Face That Drives 



115 



President Laemmle of Universal then 

stated, to Mr. Brenon's great astonishment, 
that he had no further faith in features. 

The Brenon answer was retirement to 
produce, with his own money, the Leslie 
Carter feature. "The Heart of Maryland." 

Then he met Mr. l'ox. 

Mr. Brenon is now in Bermuda, produc- 
ing a gigantic marine-dr.amatic spectacle, 
with Miss Kellerman. 

Here are a few terse Brenonisms: 

"We must have short sub-titles in pic- 
tures : colloquial sub-titles possessing 
virility." 

"I enjoy producing anything hut com- 
edy — screen comedy is to me only the 
extremest fane." 

"The future of the photoplay business 
depends upon the cooperation of the liter- 
ary genius and the artistic director. No 



photoplay can endure which hasn't a 
masterful story as its basis." 

"The director must be an executive, a 
dramatist, an author, a leader of men — and 
a painter." 

"He must be a painter, or possess an 
artist's qualities because a photoplay is 
never action alone ; it is always, in part, a 
picture." 

"I believe in dialogue, but I work it out 
on my feet. 1 can't write it out methodi- 
cally in the script." 

Brenon writes the scenario of every 
photoplay he produces. 

He never takes any scene, no matter how 
small, without orchestral accompaniment. 
He says that music supplies to his actors 
that stimulus which an audience always 
brings to players — and without which they 
are "left cold." 




A wrestling match that had a near-fatal ending. Place:' top of the chimney at the 
Standard Oil refinery at New Koclie/le. X. Y., 200 feet above the ground. Partici- 
pants: John Lehnberg (falling) and Harris Gordon, both of the Thanhouscr com- 
pany. Why and wherefore: Lehnberg and Gordon were "doing" a Thanhouscr play 
called " The Revenge of the Steeple-Jack," the camera-man catching it all as a close-up 
with what is known in the parlance as a '"telcfoto" lens. In the. carefully staged 
scuffle Lehnberg inadvertently stepped through a hole in the scaffolding, and was 
thrown forward. Gordon grabbed the rim of the great chimney, and the projecting 
ends of two planks — as the picture plainly shows — prevented Lehnberg from plunqinq 
headfirst to New York state and eternity. 




een and Heard at ike Movies 



Where millions of people — men. women and children — gather daily, many amusing and 
interesting things are bound to happen. We want our readers to contribute to this page. A 
prize of $5.00 will be given for the best story each month, and one dollar for every one printed. 
The stories mtist not be longer than 100 words and must be -written on only one side of 
the paper. Be sure to put your name and address on your contribution. Because of the rapid 
increase in contributions to this department, the editors find it no longer comjxttible with the 
speedy handling of a bullcy mail, to return unavailable manuscripts to the authors. Therefore in 
future, it would oblige us if no postage or stamped envelopes be enclosed, as contributions will 

not be returned. 



Remorseful Blue Envelope — Gets *5 

NELS NELSON', who had been in the em- 
ploy of the Blank Film Company for sev- 
eral weeks as groundskeeper. was hopelessly 
stupid, but his honest eagerness to work made 
discharging him a difficult task to the superin- 
tendent. Finally the superintendent wrote Nels 
a letter telling him his services were no longer 
required. Xels disappeared for several days, 
and then again was seen blundering content- 
edly about the grounds at his old job. The 
superintendent sent for him. 

"Nels. didn't you 
get my letter telling 
you that you needn't 
work here any 
more ?" 

"Yaw, but Ay bane 
tank you sorry you 
tolt me das." 

"Why do you think 
I was sorry?" 

"Ay bane tank you 
sorry for yust after 
you shut das letter 
you say outside. 'Re- 
turn after 5 days to 
P. lank Film Com- 
pany,' so back Ay 
coom." 

Joseph Warren 
Lyman. Jr.. 
Eunice, La. 




The Higher Criticism 

AT the movies the 
other day a pic- 
ture was flashed on 
the screen entitled. 
"As God Made Tt." 
And immediately fol- 
lowed the reassuring 
announcement, 

116 



Spirit of '76 

Views of the liberty bell were being shown 
and the enthusiasm of some of the boys an- 
noyed an Englishman seated near. 

"You are very patriotic, my lads." he finally 
offered, "but I'll wager you can't give me one 
date in English history." 

"Sir." said small Jim stiffly, pointing to the 
bell, "there is one date in English history, 
which, as Americans we shall always remem- 
ber—July Fourth. i--6 !" M. C. Lawler, 
3414 Elaine Place, Chicago. 



"Passed by the National Board of Censors." 
Harry Thomas. 33 Francis St., 
Auburn, N. Y. 

He's a Sput; 

MR. HENN and Mr. Peck were enjoying 
a night at the movies. A wedding wa- 
in progress and the newly married couple 
were being bombarded with rice and old 
shoes. 

"A barbarous custom, that, throwing old 
shoes at a bride and bridegroom." said Mr. 
Henn. 

"V e s." answered 
Mr. Peck, "spats 
would be more ap- 
propriate." 

K. A. Bisbce. 
Brooklyn. X. V. 

Celestial Slummer 

'ISITING a near- 
theater where 
"The Goddess" was 
being shown 1 was 
amused at the con- 
versation between a 
little boy and his sis- 
ter. 

"Who is the God- 
dess?" asked the sis- 
ter. 

"Why God's wife, 
of course." said the 
lad. 

"ITow'd she get to 
a tough place like this 
world?" said the lit- 
tle girl sympathetic- 
ally. 

Mrs. . I. Riessner, 
82 Hamilton . I; c. 
Yonkers, N. Y. 



vs 



Seen and Heard at the Movies 



117 



Esprit de Corps 

LITTLE Dave won! to sec Bible pictures 
Saturday afternoon with his Sunday School 
teacher and class. The next morning, the 
teacher asked : 

"Can any one tell me why Daniel was not 
harmed by the lions when cast amongst them?" 
"1 can. please." said Dave. 
"Well?" 
" Cause lie b'longed to the show." 

Miss Ruth E. Howefl, 
23 South Holmes Ave'., Indianapolis. Ind. 



T 



Legal First Aid 

HE train-wreck in "The Juggernaut" was 
stnnlingly realistic and thrilling. 
"Oh." exclaimed a 



girl in the audience, 
her voice vibrant 
w i t h admiration, 
"who is that hand- 
some fellow run- 
ning towards the 
smash-up?" 

"S o m e lawyer's 
ambulance chaser." 
replied her male 
companion, low and 
bitterly. 

Roqua E. Sturgis, 
j.'S West Eighth St., 

Oklahoma City, 

Okla. 



Lyric 

AT the end of 
the show the 
world famous ad- 
vertisement of "His 
Master's Voice" was 
shown, and a pho- 
nograph accompani- 
ment was given. 

Mother suggested 
it was time to go 
but Margaret, aged 
five, stamped em- 
phatic refusal. 

"I won't budge." 
she announced flat- 
ly, "until I hear that 
dog sing again." 

Helen Grieve, 
54 Eoster St.. Laitjrent 
5 




Squshing Him 
JV/IOVING pictures." said the 



young man. 
poofingly. to impress the ticket girl, 
"were invented the year I was born." 

"Do tell." she sighed wearily, shoving him 
his change. "I thought the important inven- 
tion the year you were born was a nut 
cracker." Miss . I lice Geerlings, 

iO Dcv:cy Ave., Craflon, Pittsburgh, Pa. 



Another Henry-ette 

DURING the photoplay a large, handsome 
automobile had been wrecked. Little 
Johnny turned to his mother at the close of 
the reel and said : 

"Ma. it looks like they would use Fords 
for such coarse work." 

C. Horn, Alton, 111. 

And Clear the Track! 

WHILE a freight train was shown passing 
on the screen little Ximmy asked his 
nurse what was the bump-back car at the end. 
He accepted the information that it was a 
caboose and always came last, with great 
solemnity. 
At dinner that night, having cleared his 
plate, he indicated 
"-"•>-,'"*"•. the dessert, and 

'•;•. calmly commanded : 

V. _,---- . "Slip Timmy his ca- 

*-».,. '•',•. "••_ boose." 

" % O v .-* \N. P. Thomas. 

Port Stanley, Out. 

S 

The * 100.000 Doll 

MARV PICK- 
FORD was be- 
ing shown in Tess 
of the Storm Coun- 
try. A child was 
weeping at the top 
of a strong voice. 
The manager went 
forward to aid the 
mother in consoling 
the unhappy one. 

"What does the 
nice girl want, to 
stop crying and go 
home with mother?" 
asked the manager. 

"I want that big 
rag dolly, with the 
curly h a i r." 
whooped the infant. 
Margaret Esslinqer. 
48 W. State St.. 
Trenton, A r . /. 

@ 

"Why Our Fathers 
Fought 

HAXS SCHNEI- 
I 



Mass. 



The Coroner's Verdict 



PICTL'RE Fiend: — Where can T see a good 
moving picture, today ? 

Her Friend: — See the "Last Days of Pom- 
peii." 

P. F. :— How did he die? 
H. F. : — I'm not certain, but I understand it 
was from an eruption. 

W. W. Bean, Knoxzille, Tentu 



LDER. proprietor 
of a picture bouse in a rural community, 
doubled the price of admission on the Fourth 
of July. 

"Ten cents today." he said firmly, shoving 
back the jitney of an old patron. "It's a holi- 
day yet, you know." 

"What's a holiday?" demanded the o. p. 
belligerently. 

"A holiday," roared Hans, out of patience 
with such ignorance, "is any day on which you 
pay ten cents, aber it was a nickel before." 
.1/. E. Sammons, 
28 Catherine St., Utica, .V. Y. 



Light Travels Fast! 




In the twilight bed of the Grand Canyon, in caves that man's eye has never explored, the new portable 
electric plant devised by Romaine Fielding will give the necessary light for s~enes, which otherwise would 
be denied tki world. The above picture shows the full equipment mounted on an autcmobile and ready 
for speedy transportation wherever needed. Mr. Fielding is using this machine in a number of pictures 

he is staging this fall in the Grand Canyon. 



Charming Pollock 



Author of sixteen well-known plays which have recently been made 
permanent by the screen; famous critic; magazine wit who is an enter- 
tainer to all America, and co-author of the present Ziegfeld "Follies," 
New York's most brilliant entertainment, has begun to write for 
Photoplay Magazine. You will see his first story, superbly illustrated 
by a celebrated artist, in the December issue, on sale Nov. 1st. 
The engagement of Mr. Pollock is in line with the publishers' deter- 
mination to make Photoplay Magazine the peer of any publication 
in the world. Mr. Pollock's first essay is a vividly humorous word- 
picture of that across-the-Hudson hive of peaceful villagers and 
celluloid emotionalists, dwelling together in strange harmony, 

"Fort Lee: The Jekyll-Hyde Town." 



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Hints on Photoplay Writing 

£yr- \n Leslie, T. R, 

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Photoplay Magazine's authority 
in this department is one of 
the most successful scenario 



AS announced in my last article, 
I will try and give some hints to 
show how a free-lance writer may 
set about securing a position on the 
scenario staff of a reputable film producing 
company. 

As I stated before, it is not such a diffi- 
cult matter as many seem to imagine — if 
you are qualified to (ill such a position, and 
able to hold it when obtained. If you are 
not. then by no means should you make 
the effort. You cannot hold a position for 
any length of time in a scenario depart- 
ment if you are not able to deliver the 
goods. Ybu are up against the scenario 
editor, who knows his business, or he 
would not be in the editorial chair; and 
you come in open and keen competition 
with the other staff-writers, who will 
quickly note your shortcomings and will 
not be slow in commenting freely on your 
work. 

1 f you feel in your own 
mind that you are fully 
qualified to fill such a posi- 
tion and have perfect con- 
fidence that you will be able 
to hold it and compete with 
the trained writers already 
on the scenario staff, then 
you may safely set about try- 
ing to secure it : but not until — ~ — 
then. If you should manage to secure the 
position and were found to be absolutely 
incompetent you would lose it in short 
order and you would have gained nothing 
but disappointment and regret for having 
placed yourself in a false position. You 
would be listed also as a failure and would 
find it difficult to again break into the edi- 
torial fold, because evil news travels fast 
and the scenario departments of the vari- 
ous companies are in closer touch with each 




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editors and writers in the world. 
Many of the most Interesting 
film features are his creations. 



You cannot hold a posi- 
tion for any length of 
time in a scenario de- 
partment if you are not 
able to deliver the goods. 



other than many people suppose. 

Well, we will take it for granted that 
you are qualified and full of confidence. 
The next question is. what have you suc- 
cessfully accomplished in the literary field ? 
Have you had a goodly number of photo- 
plays accepted and produced? Have you 
any published magazine stories or pub- 
lished books to your a .(lit? Have you had 
a play or vaudeville sketches successfully 
produced ? Have you had good newspaper 
training, either as an editorial writer or as 
a reporter? These are all questions which 
will be put to you by the scenario editor 
and the general manager of the company 
to whom you are intending to make appli- 
cation. 

The more experience and the more suc- 
cess you may have achieved in any of these 
lines of literary endeavor the more chance 
vou will, naturally, have of being accepted 
as the member of a scenario staff. People 
of tried and trained ability 
will always be given the 
preference over the novices 
who have nothing to their 
credit. This holds good in 
every line of human work. 
Personality, of course, counts 
for a great deal, and the 
woman or man with a 
grouch, or obvious lines of 
bad temper (which always show on the 
surface, if bad temper is encouraged) can- 
not hope to create the good impression that 
is accorded to the happy smile which is the 
hallmark of good nature. In applying for 
a position in a scenario department carry 
all vour credentials with you — samples of 
vour work done : criticisms on your suc- 
cesses, if Vou have any : a smiling face and 
a jovial manner. Let the first impression 
that vou hope to create be a pleasing one. 

119 



120 



Photoplay Magazine 



And it will do no harm if you don the 
neatest gown or suit in your wardrobe for 
the interview. Really line candy will often 
be sadly neglected if encased in a cheap 
box. 

A great number of staff-writers have se- 
cured positions through personal influence, 
but unless they have been able to do the 
work that is expected of them, few have 
ever lasted very long. Even relatives or 
friends do not pay real money for any 
length of. time to those who 
are wholly incompetent. So 
you may rest assured that all 
the scenario editors and staff- 
writers who are steadily em- 
ployed by the various film 
producing companies are all 
writers of proved ability, and 
most of them are able to turn 
out a sure-fire photoplay at 
short notice. 

A personal application for a position of 
this sort is always far preferable to a writ- 
ten one. although I have known several 
writers who have secured their positions 
through written applications. The film 
companies are always on the lookout for 
good writers to add to their staffs, but 
they, naturally, insist that they be compe- 
tent. You must show them some proof. 
They all think very highly of a good news- 
paper training, because many of our most 
brilliant photoplay writers have served 
their apprenticeship in that trying school. 
C. B. (Pop) Hoadley, Calder Johnstone. 
William Lord Wright. Frank Woods 
(who wrote the scenario for '"The 
Birth of a Nation"), Ben Schulberg 
and a host of others are living proofs of 
this. 

To be qualified to fulfill the position of 
a staff-writer you must possess a good gen- 
eral knowledge of topical and past events, 
an intimate acquaintance with American 
and European history, and a fair smatter- 
ing of geography, besides knowing how to 
evolve a practical photoplay. If you have 
traveled extensively, all the better. You 
will have gained invaluable experience at 
first hand. 

You must remember that the staff-writer 
is often called upon to write a scenario at 
short notice, maybe dealing with some diffi- 
cult subject, and the scenes may be laid in 
some foreign land of which many people 
know but little. But the staff -writer 
should be an fait with as many subjects as 



Personality counts for a 
great deal and the 
woman, or man. with a 
grouch cannot hope to 
create the favorable im- 
pression that is accorded 
to good nature. 



possible. They should be, and usually 
are. people of good education, and with a 
quick and ready wit. 

Some of the scenario departments em- 
ploy "readers," who read all the photo- 
plays submitted by the free-lance writers, 
and these arc staff positions for which ap- 
plication should be made, because they are 
often stepping-stones to the desk of the 
staff-writer and a good number have 
achieved their ambition in this way. Every 
scenario department should 
employ a staff of readers, be- 
cause 1 do not think it is 
just or fair that the staff- 
writers should be asked, or 
even allowed, to read the 
photoplays submitted by out- 
siders. It is placing too 
great a temptation in the 
staff- writer's way, because, 
no matter how honest the staff- writer may 
be. it is a sheer impossibility for her or 
him not to (unconsciously perhaps) absorb 
ideas or original plots when reading scores 
of 'scripts which many staff-writers are 
called upon to do daily. I believe that 
every fair-minded staff-writer in the world 
will agree with me in this. I am not in- 
sinuating, for a moment, that original plots 
are deliberately stolen in scenario depart- 
ments, but I do not think it is right or just 
that any writer should have absolutelv free 
access to the submitted works of other 
writers. I have always strongly opposed 
this method. It is both unfair to the staff- 
writer and to the free-lance. I think this 
matter should be taken up seriously. It is 
an urgent one. The fear of having their 
plots unwittingly absorbed has kept, and is 
keeping, many sterling writers from enter- 
ing the scenario field. Every obstacle that 
engenders distrust between scenario de- 
partments and the free-lance writers should 
be removed. 

If you are living at a considerable dis- 
tance from the main centers of film activi- 
ties it is probably impossible to get in per- 
sonal touch with any scenario department, 
and in that case I advise any writer, who 
feels assured that she or he is fully quali- 
fied to fill the position of a staff-writer, to 
make a written application to the general 
managers of the various companies, setting 
forth an account of work successfully ac- 
complished and enclosing a stamped, self- 
addressed envelope for the reply. All the 
companies are on the lookout for good 



Hints on Photoplay Writing 



121 



writers, and scenario departments are fre- 
quently being enlarged. And then new 
companies are continually coming into the 
field, and it is well to consult the "trade 
journals" which deal with the moving 
picture industry and find out what is hap- 
pening in that line." You must help your- 
self all you can. and leave no stone un- 
turned if you are in earnest about obtaining 
your ambition. But be certain that you are 
fully qualified to fulfill the position should 
you succeed in securing it. 

There, now, that is all the advice I can 
give you on how to become a staff-writer, 
because, of course, there is no fixed or 
stereotyped rule that can be laid down. 
So much must depend upon yourself and 
upon opportunity. Qualify yourself thor- 
oughly, and the rest will come easy. 

Every writer should learn to work a 
typewriter. I cannot too strongly advo- 
cate this. You can teach yourself. It re- 
quires practice ; that is all. I know that 
for several years I labored assiduously with 
a pencil and gave out my efforts to be 
typed. It cost me considerably more 
money than I made in my first year of 
writing, and considerable time in correcting 
the mistakes of incompetent stenographers. 
I naturally tried to get the work done as 
cheaply as I could, and I got it. Cheap, 
but expensive in the end. I ultimately 
learned that one must do one's own type- 
writing, and you will soon learn that. too. 
Kxperience teaches. There is no other 
practical school. 

If you are in earnest about 
the work and mean to keep 
it up. you should keep a 
small note-book handy in 
your pocket to make a note 
of plots, which often come 
to your mind when you least 
expect them, and which may 
be readily lost in the stress 
of daily business. Some little happening 
to your neighbors or friends may suggest 
something unusual that may be woven into 
an original plot, and it is for those very 
little things that the scenario editor is ex- 
tending his tentacles. It is those that are 
worth money, both to you and to him — to 
you for having discovered the original plot, 
and to him for having discovered you. 

I advised writers in a previous article to 
evolve their original plots into fiction 
stories and to submit them to magazines. 



The fear of having their 
plots unwittingly ab- 
sorbed has kept and is 
keeping many sterling 
writers from the scen- 
ario field. 



Many will claim that they cannot do this: 
that they have it not in them to construct 
a fiction story. Nevertheless, they should 
make the effort. We never know what we 
can do until we try. It is really foolish 
for a writer who intends to take up writing 
seriously to rely entirely on scenario writing 
to keep the pot boiling. That fuel alone 
will barely bring it to a simmer. You must 
go into the game for all it is worth if you 
really intend to make it your life's work. 
I earnestly advise you again to throw your 
energies in other directions as well. You 
may achieve good success as a magazine 
writer, and there is wonderful pleasure in 
working out a fiction story — far more than 
in evolving a photoplay scenario, which is 
dry work at best. One will help the other 
wonderfully, and the magazine market is 
a far bigger one than is the photoplay 
market. 

The various methods of the various com- 
panies and their various producing directors 
should lie closely studied, and the onlv way 
for the free-lance writer to get a line on 
their work is by a close study of their 
efforts on the screen, (lo and see all the 
short reel pictures that you can. 

The study of long so-called "feature" 
productions will not help you very much, 
because they arc beyond your market. Fea- 
tures are written by the staff -writers or the 
directors themselves, and are always 
planned in the studios beforehand. Kxcept 
a free-lance writer is especially requested 
to write one. she or he is 
only wasting time and good 
paper. No matter how good 
your long five or six reeler 
may be, if vou are not well 
known you will find it al- 
most impossible to find a 
market for it. I f a day 
laborer tried to sell a gen- 
uine $20 gold piece in Wall 
Street for $15 you can imagine the slim 
chance he would have of disposing of it ! 
It would be dubbed a "gold-brick." no 
matter how good or new it might be. Well, 
your long, laboriously worked out feature 
would be in similar case. The Wall Street 
wiseacres often get stung by what they 
consider sure-fire propositions, but. more 
often than not, they will blame the state 
of the market, and not the real cause of 
the flivver. The real heads of the film 
companies rarely take the trouble to go 



122 



Photoplay Magazine 



:nto the matter of the scenario — they are 
too busy! The man who intends to build 
should look carefully into the foundation 
for the house. On it his house is going to 
rest. The scenario is the foundation of 
the photoplay production. 

When you study pictures on the screen 
you should make note of the name of the 
producing companies . and also of the 
directors, and try and gauge the class of 
stories which seem to mostly 
appeal to them. You should 
also count the number of 
scenes in each picture, and 
jot it all down in a note- 
hook, which you should carry 
for that purpose. Become 
for a time a picture "fan." 
You will learn more from 
watching pictures on the 
screen than is possible to be obtained from 
any book or treatise on scenario writing. 

No earthly human being can teach you 
that. A sample scenario will help you 
considerably, and the one that was pub- 
lished in the March issue of the PHOTO- 
PLAY Magazine has proved of benefit to 
many. If you did not read it. then take 
my advice and get it. It is a practical guide. 

Some scenario writers go to the trouble 
of working out a "scene plot" after they 
have finished their photoplay — and a great 
trouble it is to do so. because it involves a 
deal of thought and time — but it is merely 
time wasted in ninety-nine times out of a 
hundred, because so many changes are in- 



Safeguard your own 
interests as well as you 
can, because no one is 
going to help you in the 
same way as you can 
help yourself. Be wise ! 



variably made by the producing director in • 
the working out of the photoplay that the 
sequence and numbers of the scene must 
necessarily be changed considerably. The 
assistant director usually makes out the 
scene plot for the director after the work- 
ing scenario has been arranged to his satis- 
faction, so the scenario writer had better 
not attempt to make a scene plot at all. 
If it is your intention to write magazine 
stories and to evolve your 
stories from your scenario 
plots, then it is advisable to 
reserve the fiction rights, and 
to state the fact on the front 
cover of your photoplay. 
Scenario editors will not 
object to your doing this, 
and will reserve to you the 
option of writing your own 
plot into a fiction story and reaping the 
financial reward. Otherwise your photo- 
play may be worked into a fiction story by 
some hack writer, and — from your point of 
view — hopelessly mishandled. 

I also strongly advise magazine writers 
to reserve the moving picture rights to 
their stories when submitting them to edi- 
tors of publications ; otherwise they will 
debar themselves from reaping the benefits 
which should rightfully belong to them. 
I have always done so, and I have never 
regretted doing so. Safeguard your own 
interests as well as you can. because no 
one is going to help you in the same way 
as you can help yourself. Be wise! 



Standing's Sinecure 

JACK STANDING, Lubin's English 
J star, has flirted with the bony man. 
Death, many times in the interests of that 
realism which the directors demand these 
days. In a recent picture it was necessary 
that an auto run over the star. It was 
agreed that Standing drop between the 
wheels and thus escape injury while giving 
all the appearance of being actually run 
over. The car scooted over him. leaving 
him in the road, cut and bruised and look- 
ing like he had gone through a sausage 
mangle. While he was trying to think how 
to express his opinion adequately. Standing 
heard a spectator say: 

"Pretty soft for that guy — huh? He 
gets three dollars every time he does that." 



Brains vs. Beauty 

HTHE homely woman with character and 
* brains has a better chance to become a 
star in motion pictures than the pretty, ex- 
pressionless vacuums with neither, accord- 
ing to Thomas H. Ince. the famous Mutual 
director. 

Said Mr. Ince: "Photography is a me- 
chanical hypocrite that makes 'a rag. a bone, 
a hank of hair' of the most beautiful some- 
times." 

Make way you beauty parlors with your 
rouge and talcum, switches, wrinkle-plasters 
and bella donna ! Avast you lovely dames 
who doff your shape and hang your crown- 
ing glory on the gas-jet at bedtime ! The 
queen, the homely woman, comes to her 
apotheosis in the pictures! 



Mollie oftfie Movies 

Her Correspondence: Compiled Sjs^ 

Kenneth IleGaffey 



Illustrated by Maud Martin Evers 



SIXTH REEL 

Hollywood, Aug 18nth 

DEAR CLARA BELLE : 
None of these other moving picher 
actoreens has got anything on me 
now. I got a personal press agent. 

It happened in the strangest way ! 1 had 
of hen noticing a tall, handsome gent that 
dines in my favorite cafateria about the 
same time I do and the way he looked at me 
with langwishing eyes and the other day 
we met quite informerly. I had my tray 
laden down with 49c worth of food and 
was using both hands to restrane it and it 
was wile I was trying to get some lump 
sugar out of the bole with my tethe for my 
java that he sprung to my asistence. One 
word led to another — you know how it is in 
society — and before long we was sitting at 
the same table. 

I told him how the jelosy of the other 
moving picher Stars was a keeping me 
down and he 
said well you 
outa have a 
press agent 
thats all. 

I told him I 
belong to a 
presing club in 
Grundy Cen 
but I coudent 
use one now as 
I am wearing 
Wash Dresses 
and doing them 
myself in the 
bathroom that 
is wen the land 
lady dont cetch 
me. He laughed 
I dont know wy 
because wash 
dresses is cer- 
tainly sesonble 
this time of 
year and then 




"/ mean a man to put pieces and pickers in the papers, and 
make you notoreous like all these other stars. " 



he said that is not the kind I mean. I 
mean a man to put pieces and pichers in 
the papers and make you notoreous like all 
these other Stars. He then told me he was 
a gernalist and had taken such a interest 
in my Art that he would do it for nothing. 
He said to me girlie he says I am going 
to give you a big rightup in the next issue 
of my magazine — a whole paragraf ! I 
was that over joyed. He is editor of the 
bee keepers aim ual and the next issue is 
out next Fourth of July and I cant hardly 
wait. Just think of seeing my name in 
print — wont Grundy Cen. be proud of my 
noturiety ? 

And right on top of that good fortune I 
nearly lost my life! Never did I face 
death so close before since the time I moved 
in a still for George Melford out to laskies. 
On my way out to Inch Ville I stepped into 

a rut and sunk 
out of sight in 
the dust. If 
some cow 
puncher had not 
of thrown me a 
rope you would 
of wep when 
you got my let- 
ter because I 
W o u 1 d e n t 
of wrote it. 

Inch Ville is 
a nice place 
for any ex- 
plorer to go 
after. You take 
a trane to Santa 
M o n a k a, a 
street car to the 
end of the line 
down by the 
jap fishing burg 
and there wate 
for a Bus. 

12J? 



124 



Photoplay Magazine 



There are those that has made it all the 
same day. Inch Ville is named after Mis- 
ter thomas inch the big boss there. I was 
told that Mister inches press agent mr. 
Ohara named it that to get a raise but one 
canot believe all the idol gosip they hear. 
Anyway it has .the ocean on one side and is 
pasted against clif on the other. You can 
fall of the top of .the highest stage right 
into the rageing serf. Some do. Now I 
know how those poor people in the alps 
must suf er. You are either climeing , up- 
stares or down all the time. The six stages 
seme right one on top of the other. They 
tell me that the man who lade it out was 
jelos of Se Attle. 

When I first arived I thought from 
sounds they took animal pictures for some 
one was trieing 
to tese a lion 
hut one of the 
girls said no it 
is only Scott 
Sidney takeing 
a deth scene so 
I went in with 
out fear. I 
g u e s I told 
you how they 
wanted me to 
double for Dan- 
yel in the lions 
den at seligs 
dident I ? Since 
that moment I 
have fought shy 
of beasts. 

They were all 
so busy getting redy for Bill Burke some 
Irish actress they tell me. She has some 
piece she is going to do when she gets there 
about the liquer trafic. Its a scotch piece 
and I cant drink the Vile Stuff. 

Wile I was standing there Mister w. s. 
Hart drove up on top of a horse. My he 
doss look handsome in his cow boy uniform 
well no I would say more dashing than 
handsome. 

My but women are deceetful. I saw 
Bessie Baris Kale one of the stars coming 
out of her dressing room to start a clime 
to work and she was a blond. You remem- 
ber in the rose of the ranchouse she was a 
perfect brunet? I saw Rea Michell she is 
hired to play onjewnew leads but to my 
mind she wasent a bit girlish. She dident 
slap anybody with her fan or chew the end 




"Something must have el your 
says Mr. 



of her handkerchief like I would of done 
if had of ben her. I went right out and 
hunted up Mister inch. He was on one of 
the top most stages looking at a sene with 
one eye shut. 1 heard a girl say that he 
had his camera eye on a sene. It wasent 
so at all. I guess I should know because 
I have looked into enough of them. Of 
corse it may have been just a glas eye, but 
what would he of shut the good one for? 
I am not like other girls. They cant put 
those sily things over on me. Well I 
busted right in and said Mister inch I will 
accept a position as your onjewnew. He 
looked at me a moment and said you are 
not constructed right. Onjewnews have to 
have skinny laigs and long eyelashes to be 
onjewnews and wile goodness knows you 

are skinny 
enough some- 
thing must have 
et youi eye- 
lashes off wile 
you slep. The 
first thing you 
want to do is 
grow a new 

^C^sta^W cr °p °^ e y e " 

w&riffl^&^Mf MB laslles - w at s 

' '* * " the next thing I 

asked. See some 
other director 
he says. I 
thanked the 
poor simp and 
left. What can 
he know of the 
emulsions that 
lurk in a woman's soul by looking at her 
eyelashes ? 

I got a chance of a fine engagement week 
after next that I may accep if some one 
don't get there ahead of me, so must close 
now and get dinner. I am dining in my 
room now that the land lady has a cold and 
cant smell nothing. Love Moli.ie. 

Aug. 25ft. 
Dear Clara Belle: — 

Wat do you know about this Aniter King 
getting selected for an auto ride ' all by 
herself from here to New York I seen 
her in a picher out to laskies and she dont 
look to me like she could drive old Hen- 
nery's depot hack, much less an automo- 
bile. I asked one of the boys down to 
Inch Ville about it. I said wy did they 



eyelashes off wile you slep, 
Inch. 



Mollie of the Movies 



125 



select miss King to go across when 1 have 
so much spare time? He says because she 
has so much nerve and person allity. I says 
well I got them and he says kid you sure 
have if you was a french girl your nerve 
would take you right to herlin but your 
person allity wouldent give you a jitney 
ride to Ocn. Pk. and Ocn. Pk. is 1 mile 
away. I says I dont want to go to Ocn. 
Pk. I want to go to New York. He says 
wats the matter with Los? meaning los 



angles and I answers nothing but I want to 
go in an open automobile to n. y. and get 
my f eetures in print and be come notorious 
and everything. He says they have let you 
stay here this long without being a rested 
so dont take no chances by moving. 

Oh ! The landlady just sent word I am 
wanted on the fone. Maybe at last the 
managers have come to there senses. 
Will close, love, 

Mollie. 



Logical Conclusions 



By RANDOLPH BARTLETT 



D ECENTLY a board of moving picture 
^■censors barred "The Devil's Daughter" 
as the title of a film, on the ground that 
the devil had no daughter. This is an 
important precedent. Titles which suggest 
impossible or immoral things should be 
eliminated. Carrying the idea to its logical 
conclusion, there are numerous well-known 
books and plays, the names of which must 
be changed before further sale or perform- 
ance is permitted : 

"The Devil's Garden": How, in hades, 
could the devil have a garden? 

"Perch of the Devil": In the realms of 
Satan there is no water, and, perch being a 
fish, there can be no such thing as "Perch 
of the Devil." 

"Quo Vadis": This is in some foreign 
language, probably French, and, therefore, 
probably immoral. 

"A Tale of Tivo Cities" : Cities do not 
have tails. Dogs, cats, lions, and such, 
have tails. Besides, if cities did have tails, 
it would have to be "The Tails of Two 
Cities." 

"What the Public Wants": Nobody but 
the censors know what the public wants. 

"The Doctor's Dilemma": The idea 
that doctors experience dilemmas is per- 
nicious, as it undermines the confidence the 
public should have in this great profession. 



"The Day's Work": This is misleading, 
as the book obviously could not have been 
written in one day. 

"The City of Dreadful Night": There 
are too many cheap flings at Chicago al- 
ready. 

"Red Fleece": There's no such thing. 
There are red pigs, but no red sheep. 

"Ghosts": There are no ghosts. This 
is mere superstition. 

"Hands Up": Encourages robbery. 

"A Pair of Sixes" and "A Full House": 
Gambling terms, and should be suppressed. 

"When the Sleeper Wakes": An unwar- 
ranted intrusion upon privacy. 

"The Christian": Improper suggestion 
that there is only one. There are several 
on the board of censors alone. 

"Mysteries of Paris": Obviously unfit 
for general circulation. 

"A Tramp Abroad": Silly; how can a 
tramp go abroad? 

"St. Elmo": There is no such saint. 

"The Great Divide": Untrue; the great 
never divide anything, and that is why they 
are great. 

"A Fool There Was": Probably an un- 
scrupulous attack on the censorship, and 
must be suppressed. 



126 



Photoplay Magazine 




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Moore (Three Styles) Devilled Bara 



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Glance de Pickford 



STAR OF THE NORTH 

By Frank Williams 



(SYNOPSIS OF PRECEDING INSTALLMENTS) 

Paul Temple, leading man of a New York photoplay producing company, meets 
June Magregor, a girl of the untamed sub-arctic wastes, when the film players invade 
the North for atmosphere. Temple's love kindled, he is forced to subdue it because 
of an estranged wife he left behind in New York, and from whom he is seeking 
divorce. His own love sealed, he is forced to watch Jack Baillic, a worthless young 
member of the troupe, making successful advances to June. He knows moreover thai 
his wife, jealous of the leading woman, is preparing to follow him to the camp. In 
this dilemma he plans to extricate June from Baillie's influence, which the other 
rapidly is making more secure. Temple feels his own disadvantage, but faces it. In 
the meantime, June, given a chance in an extra part, oversteps the director's orders 
before the camera — and scores triumphantly, revealing an exceptional talent for act- 
ing. Open enmity has sprung up between Baillie and Temple, and the latter, knowing 
the odds, waits the coming of his' wife with misgivings. 



Illustrated by R. Van Buren 



CHAPTER VII 

PAUL TEMPLE, standing on the 
bank of the river at the Graphic 
camp, watched dumbly as the boat 
bearing his wife drew steadily nearer. 
Now he could make out the helmsman by 
the big steering sweep in the stern, and two 
other men running back and forth along 
the gunwales, long poles balanced in their 
hands. Then, at two hundred yards dis- 
tance, a fourth figure rose and detached 
itself from the high-piled cargo, and Paul 
saw that it was a woman. 

Then whatever last faint hope had flick- 
ered in him died. Plans and dreams went 
out with it, and a grim resignation took 
their place. He shrugged. Since she had 
come, he would play the game. He had 
always played it, and he would play it now. 
But she should play it too, he told himself ; 
from now on there should be better under- 
standing. 

The boat was drawing close, and Temple 
turned slowly to go down and meet it. To 
do this it was necessary for him to circle 
back through a little tongue of woods be- 
fore he could reach the path leading down 
the bank. When he emerged the scow was 
just warped alongside the pier, and as he 
watched he saw the woman leap ashore. 
Even at this distance her Broadway clothes 
were unmistakable — a traveling dress and 
hat of the latest cut and material, both of 
which seemed strangely out of place here 



where dress had been modified to the prim- 
itive requirement of usefulness. 

The woman turned back to talk to the 
boatman for a moment, and was lost to 
sight. Then when Paul had stepped on 
the pier and was quite close, she reappeared 
and they were face to face. 

He stopped short in amazement. The 
woman was not Gertrude. 

"My Gawd !" shouted the lady, joyfully, 
and ran towards him. "If it ain't Paul 
Temple! Kid, I'm that far away from 
home an' mother I could bawl !" 

"Goldie Burke !" He could hardly speak. 
To find this old friend, a member of the 
New York Graphic Company, when he had 
expected Gertrude, struck him aghast. 
"What are you doing here?" he managed 
to say amid the whirl of his emotions. 

"Tryin' to keep from kissin' you, old 
dear!" She seized his out-stretched hands 
effusively. "Briscoe wired for me to come 
an' do mother parts in some small stuff he's 
goin' to take, and I'm here. But Lord, I'm 
homesick !" 

As they turned up the hill she rattled on, 
shaking her hat straight on her tousled yel- 
low hair with a flirt of her head, and vig- 
orously chewing gum. 

"And were you the only passenger — the 
only woman to come down on the boat?" 
Paul asked incredulously, when he had 
somewhat recovered himself. 

"Was I ! You said it. Wasn't it just 
like Briscoe to make me travel out here 

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alone with three men ? What does he care 
for a woman's reppitation? But I've got 
a gun an' I sleep with it every night." 

With growing joy, and a sense of exult- 
ant freedom from a horrible oppression, 
Temple guided the voluble Goldie up the 
new and dismal Broadway. Gertrude had 
not come. He was just commencing to 
realize it now. The reason he did not know 
or care. But it was typical, he thought, of 
her treatment of him, and it gave him hope 
that perhaps she was not coming at all. 

Granting her time for preparation, to- 
day's boat was the logical one for her to 
have caught. The arrival of the next was 
problematical, as this cargo comprised the 
last shipment of camp supplies expected for 
some time. 

And now the battle for June ! 

At the moment when Paul recognized 
Goldie Burke, Gertrude Temple, or Ger- 
trude Mackay as she was called, was as 
far away from him in thought as she was 
in body. Seated at a table next the brass 
railing of a Broadway "tango palace," she 
was laughing gaily at the rather heavy jest 
of the man opposite her. 

She was a pretty woman of the "stagey" 
type which has made heavy inroads on the 
younger English nobility. Beautifully 
dressed in the filmiest of summer gowns, 
and with every feminine art to aid, she 
looked young and blooming — almost girl- 
ish. But the close observer would have 
noted a look of hardness about the corners 
of her turquoise blue eyes, and the faintest 
suggestion of weariness in their mirth. Her 
painted lips were scarlet, but her teeth were 
small, even and white. 

"Honest, Al," she confided, "it's a treat 
to come here with you. Every girl on the 
floor is trying to catch your eye. It ain't 
every day they get a chance to show before 
the president of the Stellar Films." 

Al Bergman grinned amiably and puffed 
at his fat black cigar. He himself was fat 
and black. He was conscious of the atten- 
tion paid him and liked it. 

"Well, it ain't I'm so rotten at pickin' 
'em, is it?" he asked. "I picked you, an' 
you're comin' along good." 

The woman twirled her highball glass 
between her fingers until the ice clinked 
against the sides. 

"Do you mean that, Al?" 

"Sure I mean it. I saw the second reel 



of 'Which Path?' in the projection room 
this morning, and you done great. If that 
thing goes like I think it will, you'll be 
made." 

"Ah!" She dropped her eyes and the 
smile left her face. In its place came a 
look of triumph that was not joy, but al- 
most bitterness. 

"That's what I want, Al," she said. "He 
always was jealous of me ; that's why he 
wanted to keep me in a glass case all my 
life. But I'll show him there's somebody in 
the movies besides him!" 

Suddenly a uniformed band in a balcony 
at the other end of the hall crashed into a 
throbbing, thumping strain, and couples 
rose from about the tables and commenced 
to crowd towards the dance floor. 

It was a golden September day, but the 
heat was that of midsummer. The whirr- 
ing electric fans merely puddled the sickly, 
close atmosphere without refreshing it, and 
the people, mostly habitues with a sprink- 
ling of sight-seers, looked pale and wilted. 
There was an air of forced gayety and 
false enjoyment about the whole thing that 
was tragic. 

Gertrude and Bergman did not dance; 
the former watched her companion, and 
the latter was content to sit and feast with 
sleepy, half-shut eyes upon the feminine 
procession that swirled by him. 

After the encore, when the dancers were 
returning to their places, he leaned forward 
and picked up the thread of their conver- 
sation where she had dropped it. 

"I guess making good with the Stellar 
is better than chasing Mr. Ex. Hubby all 
over Canada, ain't it, Gertie?" he asked. 

"You spilled a chinful then, Al. But 
I've told you before I never meant to go 
up there. That letter of his about a di- 
vorce kind of peeved me, so I shot the 
hottest one I could think of back at him. 
That's all. There's nothing he hates worse 
than to have me around where he's work- 
ing, so I wrote him I was coming. I hope 
it gave him a fit." 

"Well, keep it down to threats, dearie." 
He ogled her and grinned. 

"Don't you worry. I'd never go. If I 
was to show up there he'd probably stop 
my allowance before I got within shooting 
distance, and that would make a fine, en- 
joyable outing, wouldn't it?" 

Bergman grunted comfortably and 
shifted his cigar. 



Star of the North 



129 



"Well, dearie," he said modestly, "you 
know you need'nt ever let a little thing 
like that worry you." 

She lowered her eyes to conceal a little 
flicker of satisfaction. Then she flashed 
him a grateful look. 

"Sometimes 1 think you're too gener- 
ous, Al." 

Suddenly he leaned forward, planting 
his elbows on the table and looking at her 
squarely with his black, bright little eyes. 

"So do I, Gertie. Look here, how long 
are you going to keep this up? Ain't you 
got any heart? Ain't I anything to you?" 

She drew back cool, smiling, self-pos- 
sessed. 

"I'm not a star with my own company 
yet, am I ?" she asked sweetly. 

Bergman groaned and sank back in his 
chair. 

"I'm making you a star as quick as I 
can, ain't I?" he complained. "My God, 
it seems to take forever." 

And then, because he was scowling, she 
leaned forward and smiled and played 
upon him until his look of pleased pro- 
prietorship returned. In the midst of it, 
the music blared out again, and the jaded 
couples rose mechanically from their tables 
to dance. 

GHAPTER VIII 

JUNE MAGREGOR found life be- 
wildering. The multitudinous impres- 
sions and sensations of the last weeks over- 
whelmed her, and sometimes at night when 
undressing in her raftered bedroom, she 
asked herself wonderingly like the girl in 
the fairy-tale, "Can this be I ?" 

Sophistication had begun, though she 
would not have called it that. She was 
different; there was gone a certain first 
evanescent glory of innocence, even as 
Temple had prophesied. But there was, 
too, an awakening, a perception of things 
deeper and finerJhan she had ever dreamed. 

No longer at the mention of love would 
she have asked what the poet meant. She 
had learned of it by observing her lovers. 
Whether she herself loved she could not 
have said, but she knew poignant glad- 
nesses and longings and pain interspersed 
like sun and rain on an April day. 

Jack Baillie saw to that. He made love 
tumultuously. his eyes flashing and his 
voice thrilling. By turns he was stormy 



and serene, humble and exalted, intense or 
cold as his moods dictated. He even 
dressed the part, his Byronic shirts with 
wide soft collars setting off splendidly his 
shapely dark head with its thick, curly hair. 

He made June romantically unhappy and 
she liked it. He kept her in a continual 
ferment of uncertainty, sweeping her to the 
stars one night by a flight of passion, 
frightening her the next with a threat of 
suicide. Her heart changed its beat 
strangely when she heard his voice. 

And he swayed her in still another way ; 
he awakened her sex consciousness. Like 
the healthy, vital young animal she was, 
sleeping instincts awoke at their destined 
call and whispered of undreamed things. 

This was Baillie's love, a love of hours 
alone, of "secrets," of sentimentality, and 
tremulousness. 

Set against it was the clean, fresh wholc- 
someness of Temple's, an inspired compan- 
ionship that spoke love as plainly in its 
way as did Baillie's passion. Quietly, un- 
obtrusively, since that day of the picture 
of the fort, he had assumed a larger and 
larger part in her life. 

They talked books, read together, delved 
deep into the mysteries of worlds here and 
hereafter; the How of the stars, which we 
knowing something of, and the Why of 
which we know nothing. 

And with him, too, though they were 
happy together like children, June felt that 
underneath his quietness lay a fierce inten- 
sity held in strong leash. It seemed to run 
like a mighty current beneath the dancing 
waves of their intercourse, sweeping her 
with it. 

And yet it was Baillie who oftenest filled 
her mind and imagination ; the fire, the 
elan of his love ignited a tinder of the 
senses that burned very bright. But 
Temple to whom passion was the crown 
rather than the body of love, shielded the 
flame from her even as she shielded her 
own awakening from both her lovers. 

At the beginning Paul had met and set- 
tled a problem seriously involving his con- 
science. This was whether he could with 
honor pay attention to June without telling 
her of his marriage. Every natural instinct 
resented this, and yet he knew that by no 
other course could he hope to win in what 
he had set out to do. To tell her the truth 
would be to remove himself from the field 
and leave Baillie unopposed. 



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But he intended of course when the time 
came, if come it did, to make a clean breast 
of the whole affair. * * * 

One still cold evening as he and June 
paced up and down the fort clearing in the 
twilight that was growing shorter and 
shorter as the fall advanced, he told her of 
his love. The air was still and crystal clear, 
and the hard blue light of the sky, still 
tinged with a lemon-colored sunset, brought 
out with the distinctness of an etching the 
straight banded trunks of the birches at 
the edge of the forest. His words were 
deep with conviction, and passion. 

She moved beside him, anxious, finding 
her burden heavy. The transition from the 
passionless, almost sexless girl supremely 
careless of love, that she had been, to the 
woman plunged into the crucible of life by 
two men of a new and magic world, fright- 
ened her. 

"Oh, Paul, what can I say!" she cried, 
"except that I — I don't love you!" She 
looked up at him a little fearfully, dreading 
a mercurial outburst of despair. But his 
face only went white with pain, and he 
looked unseeingly off above the enclosing 
pines. Then in a moment his jaw set and 
he turned to her eves as steady and hard as 
flint. 

"June, you're going to love me," he told 
her quietly. "I'm going to make you." 

Again she felt the pull of that strong 
current that underran their relations, and 
after a moment he asked: 

"Is there anyone else?" 

She hesitated long for her bewilderment 
and perplexity were very great, and she was 
alone and inexperienced. 

"Oh, I don't know !" she said. He was 
strong, masterful, and yet there was the 
echo of another delicious music that he did 
not sound. "I don't know !" 

He felt a little recompensing satisfac- 
tion. At least he had accomplished some- 
thing. He had checked before she realized 
it, the conflagration whose first flame he had 
detected that day of the picture. She did 
not know ! Then he and Baillie were on 
even ground. 

"I don't want a final answer now," he 
said. "I'll wait." (How different, she 
thought, from Baillie's passionate claiming 
of her!) "I want you to know as I know, 
and you will. And when you do, time or 
distance, or anything that may happen, can 
never make any difference. But you're 



going to love me, June, sometime, and when 
that time comes, you'll find love wonder- 
fully different from anything you have evti 
known." 

She looked up at him again. The pain 
had gone from his face and now it seemed 
strong and rugged, glowing with an in- 
tense inner light. She had studied it often, 
trying to read what life had written there, 
but tonight it was revelatory. Sensitive- 
ness and feeling were plain ; and perhaps 
mystery and tragedy. Tragedy most of all? 

They talked little after that except for 
cheerful generalities. Silences fell, silences 
characteristic of their intimacy, and June 
felt a deep and abiding peace. Temple al- 
ways brought her that. 

Then through the dusk there sounded a 
clear, cadenced whistle and the girl stopped, 
her face quickening. 

"Shall we go back now?" she asked, and 
he turned without a word. But the pain 
had come back. Temple knew that whistle. 
Baillie had come. 

By the loom of the dwelling with its 
yellow, lamp-lit windows, they met him. 
He seized the girl's hand eagerly and then 
nodded curtly to Paul. The three sat down 
on the edge of the low veranda and ex- 
changed perfunctory commonplaces. 

Then when Paul was about to go, the 
door opened and Fleming Magregor came 
out. 

"Is Mr. Temple there?" he inquired, 
peering at the dim figures. 

Paul rose. 

"Will ye have a pipe?" the factor in- , 
vited, after responding shortly to Baillie's 
greeting, and waved towards the heavy 
chairs in a corner of the veranda. 

Paul accepted gratefully. They seated 
themselves, the factor methodically shaving 
his hard plug of tobacco in silence. His 
contempt for Paul's fine-cut weed was mon- 
umental. 

"Wad ye like to go huntin' say Thurs- 
day?" he began abruptly, when the fire was 
bright in the briar bowl. "The deer should 
be driftin' back towards Skull Lake for the 
lily-pads the noo." 

Would he like to try it? Would Bryan 
like to make a speech or Carnegie be in- 
terviewed? Paul could have stood on his 
head for the solemn gray man. But he 
had no proper gun, he mourned. 

"I've plenty. I'm a bit of a sportsman, 
as we all have to be up here." 







"I'm making you a star as quick as I can, aint I?" he complained. "My God, it seems to 

take forever !" 



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They talked on, planning the details. In 
the midst of it Baillie and June, who had 
heen murmuring together at the edge of the 
veranda, rose and strolled away in the 
darkness. 

A mad jealousy burned all of life to 
ashes for Paul. But worse than that, as 
he watched them go, was the fear. How 
little she knew ! How determined Baillie 
was! 

Paul shivered, though not with the cold. 
How much longer, he asked himself, must 
he wait for the opportunity he .sought? A 
fierce impulse to rise and follow them, to 
triumph with the strength of his hands over 
that subtle villainy, surged through him. 
But he fought it down. The time was not 
yet, and he must bide the time. A false 
move and he would throw June irrevocably 
into Baillie's arms. 

He apprehended little that he heard of 
deer hunting that night. 



CHAPTER IX 

"W/HEN Paul awoke that dawn under 
"' the vigorous shaking of the cook, it 
had narrowed to a swift, foam-flecked 
stream. The bank where the half dozen 
of the Graphic party sat was low and 
rocky ; the green forest was in the back- 
ground. Two canoes loaded with camping 
paraphernalia were beached upstream, and 
two others strained and knocked in the cur- 
rent before them. 

Over everything hung a mantle of noise, 
a loud monotonous roar, the senseless brawl 
of fast water. Downstream the river banks 
closed in to form the high black walls of a 
gorge amid which the tossing waves of 
a rapid showed like white teeth. And in 
a patch of sunlight against one of those 
walls swung a thread, and at the end of it 
a man with a tiny machine — Gene Perkins 
getting ready for the shot. 

The group on the bank, which included 
Paul, June, Elsie Tanner, Baillie and 
others, watched a colloquy between a man 
and a woman at the water's edge. The lat- 
ter, garbed in Indian dress, was speaking 
fast and passionately and the other, with 
battered hat pushed back on his square 
head and arms akimbo, replied sharply at 
intervals. 

Then suddenly the girl buried her face 
in her hands and sank down on the stones 



weeping. Briscoe looked at her a moment, 
shrugged, and turned up towards the wait- 
ing group. He came slowly and dejectedly. 
For the first time in his life he looked 
beaten. 

"French has funked it cold," he an- 
nounced. "She says I've no right to ask 
her to go through that gorge in a canoe." 
He made a motion with one hand. "Even 
a thousand-dollar bonus didn't get her. 
Guess we'll have to fake it at some nice 
little mill-race in New Jersey." His scorn 
equalled his disappointment. 

Silence fell on the little group. Paul, 
Elsie Tanner and Baillie had also been 
destined to make that whirlwind trip be- 
tween black walls, and French's vacillation 
and delay had been trying. For a week 
rain and cloudy weather had held them 
up, and now after an all-day trip to this 
location, the leading lady had finally knifed 
the "take." 

Baillie moistened his lips and a little 
color came back into his face. Elsie Tan- 
ner, who in her cheerful, unobtrusive way 
had faced every peril known to man with- 
out a qualm, smiled, and Paul frowned. 
He looked up at Briscoe and spoke soberly : 

"I'm not dying to go through there — " 
he nodded towards the rapids — "but if we 
don't get that thrill, the film's a failure. 
We must get it somehow, Tom." 

"Perhaps we could find a less dangerous 
rapid that French would go through," sug- 
gested Baillie. 

"There ain't one within a hundred 
miles," growled Briscoe. "And what do I 
care for a less dangerous rapid? I want 
punch in this picture !" 

A perplexed and hopeless pause fell. 
Then suddenly June, who had been listen- 
ing, spoke: 

"Perhaps I could go through, Mr. Bris- 
coe. I'd like to try." 

Everyone turned to her, staring, unbe- 
lieving. Baillie started to speak but 
checked himself. 

"You would?" A look, combined with 
dazzling joy, admiration and amazement, 
lighted Briscoe's face. 

"Yes, if Miss French would let me have 
her costume. I think it would fit me." She 
spoke a little eagerly now. The color of 
excitement was in her cheeks. 

Briscoe bounced to his feet as if he had 
been made of rubber. 

"Great!" he cried. "Miss Magregor, 



Star of the North 



133 



you've saved us. That bonus is yours, and 
anything else the Graphic Company's got. 
By thunder, you're my 'star of the north'." 

The girl flushed with pleasure. She 
was in awe of this live-wire genius, but she 
knew the value of his praise. She turned 
from him to Baillie, who was mumbling in 
her ear. 

"Dont do it, dear," he was pleading 
thickly, "don't take that risk. If anything 
happened to you — " 

"It would happen to you, too, Jack. 
We're going through together." Her eyes 
rested on him a little surprised. 

"I know, dear, but — are you sure you can 
do it?" 

"No, I'm not, but I want to try. It will 
be wonderful sport !" 

She quivered with the nervous courage of 
the thoroughbred at the barrier. He said 
no more. 

It was characteristic of French that, 
though she refused to chance the white 
water herself, she resented June taking her 
place. Her eyes snapped with jealousy as 
they changed clothes in the shelter of the 
thicket. She had heard, as Briscoe in- 
tended her to, that phrase "star of the 
north." 

The director was now arranging the final 
mechanical details, casting a glance now 
and then up the canyon where the sun was 
gradually lighting it as noon approached. 
At its height it would flood the gorge for 
half an hour, and it was then the hazardous 
trip must be made. 

Three cameras were to be used, one at 
the entrance to the rapid, a second sus- 
pended in midair half way through, and a 
third at the lower end to catch the final 
leap of the canoes into still water. Two 
assistants were helping with the artillery. 

The "stunt" itself was a canoe race 
through the rapid, this being a climactic 
scene in the "Wilderness Idyl," and the 
most difficult of the troubles Briscoe's 
fiendish ingenuity had devised for the long- 
suffering Princess Na-shi-go. 

Temple and Elsie Tanner, as man and 
wife, were supposed to be fleeing from the 
mysterious vengeance that had pursued 
them ever since they had married and come 
into the northland, and hot on their heels 
followed the Princess and the trapper 
(Baillie) who was in love with her. 

At the water's edge the men were ex- 
amining the canoes. They were stout, tried 



craft ballasted evenly with what for the 
sake of the picture represented duffle, but 
was really stone. They would ride steadily 
and yet present plenty of freeboard. 

"Elsie," said Paul, as his companion 
calmly took her place in front of him, "I 
like to work with you. You're a brick. 
There isn't a speck of yellow in you." 

The quiet young woman who was neither 
beautiful nor brilliant, and who probably 
would never be great, colored swiftly and 
laughed with a sudden catch in her voice. 

"I'd be all yellow if I didn't know you 
were behind me," she said, and almost 
revealed her long secret romance. 

For a moment Paul pondered her unus- 
ual emotion. With manlike obtuseness he 
hoped after all she wasn't going to funk 
it! 

June had finished dressing now and came 
down to the water's edge. She and Baillie 
took their places. Then several revolver 
shots from far up the gorge attracted their 
attention, and they turned to see Perkins's 
tiny white handkerchief waving. 

"He's all ready up there," said Briscoe, 
"and the sun's right." The canyon stood 
revealed in the yellow glow, a forbidding 
place at best with its black, wet walls. 
"Now, children," he added, his eye on 
Baillie, "if any of you don't want to go 
through with this, say so now. Once you 
go in there's no stopping till you come out. 
If you turn over in the middle good-bye. 
I've got men waiting at the other end to 
take care of you, but they'll be no good in 
the rapid." 

"Let's get it over," growled Temple, and 
switched his canoe around. The rest re- 
mained silent. 

"All right. Go ahead. But Baillie, you 
let Temple get through before you start." 
The preliminary stages of the race leading 
up to the plunge into the white water, 
would be filmed later if the big "stunt" 
was successful. 

The two craft struggled a short distance 
upstream and turned. Paul glanced anx- 
iously at Baillie. Was June facing two 
dangers in this daring trip ? 

"Ready, Elsie?" They were kneeling, 
firm-set. 

"Yes." 

"Then, go !" 

The two paddles dug the water and the 
canoe leaped forward. 

Swiftly they passed the camera that was 



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taking the "approach," and as swiftly the 
spot where Briscoe stood, his face drawn 
and tense. Then the rocky banks com- 
menced to rise and close in, there was an 
icy breath of dank air, and the clamor of 
the many-tongued water rose louder and 
louder. Then before them a wave, the 
grandfather of all waves, rose up, and 
shook its hoary head and shouted. The 
next instant it had mysteriously disap- 
peared beneath them, and chaos had be- 
gun. 

The bow slewed sidewise as a wave 
slapped it and the crest shot into the boat. 
Paul recovered and swung her back. Al- 
ready he was drenched and half blinded 
with spray. Then, the first shock past, the 
exhilaration of the struggle thrilled him. 
His brain cleared and he felt himself 
possessed by an exultant, savage joy of 
power — the power of man conquering 
blind, destructive nature. 

Now the clamor was deafening and the 
water one mass of leaping white inter- 
spersed with smooth black patches. Then 
suddenly something suspended in the air 
rushed towards the canoe, loomed large, 
seemed about to strike it, and flashed by. It 
was Perkins filming the wild flight. 

At last when Paul had commenced to feel 
that the world was all noise and motion and 
drenching icy water, there was a final toss 
and leap, and they shot out upon a wide, 
green pool that was strangely still. The 
third camera, stationed on a jutting rock, 
caught them as tl.ey did so, and the waiting 
men from the camp cheered. 

The impetus of their flight sent them 
across to the rocky edge of the pool and, 
as Paul steadied the canoe with his hand, he 
looked back. The others were not in sight, 
apparently had not yet started. 

Elsie Tanner climbed out and then sat 
down suddenly, trembling with the weak- 
ness of reaction. Paul, when he landed, 
also found himself affected, and to recover 
walked slowly around the pool to the point 
where the camera man stood. 

"Here they come." 

Far up the wild perspective, now 
glimpsed, now smothered from sight, toss- 
ing like a chip, came the canoe. Sherman 
at Temple's side was grinding steadily. 

Paul's heart beat fast. What of Baillie? 
Would he come through? Would he 
crack ? 

On they rushed, swerving and leaping in 



a boil of foam. They swept past Perkins : 
they shaved a jagged tooth of rock, and 
were in the last descent. Then, in the 
final riffle, at the lip of the pool, the canoe 
slewed dangerously. Temple shouted an 
important warning. Baillie tried to recover, 
failed, and the next instant they had struck 
a submerged boulder. There was a sharp 
crack as the canoe broke in two, and the 
paddlers were flung bodily down into the 
pool, the debris rushing after them. Both 
disappeared. 

It had all happened so swiftly, just on 
the verge of success, that Temple stood for 
a moment stunned and paralyzed. Sher- 
man, cursing in a monotone, methodically 
turned his camera and continued to grind. 

Then as Paul jerked himself to life, 
Baillie appeared above the surface. He 
gasped for breath and flung the water from 
his eyes. Then recollection seemed to come 
to him, and he looked about as if searching 
for June. Not seeing her, he hesitated, 
and then with a strange moaning cry of 
terror, struck out madly for shore. 

As Temple leaped he saw June reappear, 
and as he swam for her, he suddenly real- 
ized the danger of that still pool. All the 
force of the tumbling water expended itself 
in swirling, powerful currents that sucked 
down everything that floated. 

Five yards from the struggling girl sIk- 
disappeared again, and gulping a mouthful 
of fresh air Paul dove after her. Already 
he ached in every limb from the icy water, 
and his soaked clothing seemed leaden. 

Then opening his eyes in that sinister 
green light, he saw her dimly and clutched 
her as she went by. Luckilv he caught her 
by the collar of her deerskin dress, and 
had a little advantage in the desperate fight 
up to the blessed air. 

The struggle became a nightmare horror, 
a confused chaos of roaring noises and of 
vast weights that sought to crush him. 
Then at last he felt someone clutch him 
from above, and heard a man's voice say 
indistinctly : 

"Good for him, he's got her. Now haul 
'em aboard." 

He felt the warm sun on his face, and, 
releasing his bursting lungs drank deep of 
the sweet, life-giving air. 

Five minutes later, somewhat recovered, 
he helped the two men who had put out in 
the canoe, lift June ashore. She had been 
unconscious when rescued, but alreadv was 




Baillie tried to recover, failed, and the next instant they had struck a submerged boulder. There 
was a sharp crack as the canoe broke in two. 



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commencing to gasp and moan as lier 
senses returned. 

They laid her on the rocks, and while 
Paul worked over her the others ran for 
blankets. At Paul's command those who 
had crowded around stood back to give the 
girl air. 

Then, gradually, June's breath came 
more easily, her eyelids fluttered and at last 
opened. For a moment she stared up 
blankly into the face of the man above her. 

"Thank God !" Paul said, with fervent 
tenderness. 

The voice seemed to rouse her, and with 
clearer and clearer vision she stared up at 
him, taking in one by one his wet face, 
matted hair, and dripping clothes. 

"Jack . . ." she said faintly, and 
stopped all at once. Then in a voice of 
wonder: "You — Paul — ! I saw you on the 
bank. I — " There was a longer pause 
as the truth filtered into her stunned brain. 
"Then it was you who saved me. . . . 
Where is he?" 

"Safe. And now you mustn't talk any- 
more. Just rest." 

She obeyed him, but he knew from the 
look of understanding that dawned in her 
eyes that she knew how Baillie had failed. 

CHAPTER X 

I T was a wild scene. The river at this 
1 place twenty miles below Fort McLeod 
was a mad torrent. When Temple awoke it 
was to a feeling of delicious anticipation. 
Pushing back the tent-flap, he saw the gray 
light and felt the chill wind that precede 
sun-up of an early Autumn day. The pines 
about the camp clearing were wreathed in 
a bluish mist, and the river was obscured, 
but already the curtains of haze were 
stirring. 

He dressed for once without his plunge 
in the rock-lined pool the men had con- 
structed, for this was the day of the deer 
hunt and he must be at the fort at half past 
five. After the strenuous time in the rapid 
(of which Fleming Magregor was still 
ignorant) Briscoe had given the principals 
a few days rest and was filling in the time 
with some short stuff he had on hand. 

At the cook tent Paul shocked himself 
into consciousness with two cups of scald- 
ing coffee, and a light collation consisting 
of ham and eggs, bread and butter, and 
pie. Then he went down to the pier. On 



the way he passed through the sleeping 
camp. The log shacks, ten altogether, were 
completed now, and occupied by some of 
the female contingent. The weather had 
sharpened warningly as fall advanced, and 
the nights were very cold. Only the 
hardier women braved them under canvas, 
though all of the men were still in the 
open. 

At Baillie's tent he heard sounds which 
indicated the other's complete oblivion to 
the world. But had he looked behind him 
as he went down the hill to the river he 
would have noticed a strange thing. The 
snoring suddenly ceased, the tent-flap was 
pushed back furtively, and Baillie's bright 
eyes watched his departure. 

But a suspicion of such significant things 
never crossed Paul's mind. He was too 
happy in the anticipation of the day to 
come. Stepping into his canoe, he pushed 
off into the swift current and swept away 
between the blue misty banks, an adven- 
turer in the wilderness. His blood tingled 
with the elixir of the air, and putting aside 
all that life had been to him, and all that 
it still might bring, he felt the primitive, 
animal joy of mere being surge through 
him. To-day was his and he should take 
it and be happy. 

In token whereof he startled the birds 
'in the trees by bursting into a melodious 
bellow of song. 

As he neared the fort he was suddenly 
surprised to see June awaiting him on the 
beach. She listened to his musical efforts 
judicially. 

"There won't be much use going hunting 
if you keep that up," she told him as he 
landed. "Everything old enough to walk 
will be in Alberta." 

He waved her aspersion lightly aside. 

"You're not going with us!" 

"Oh, no," — she spoke a little hastily, he 
thought — "I'm just up to see you off." 

"I feel properly honored." 

She laughed a little constrainedly and 
turned up the bluff. 

Paul found the factor waiting for him in 
front of the fort, granulating plug tobacco 
with a clasp knife, and cocking an eye at 
the weather. He welcomed his guest dryly 
and handed him his rifle. In Magregor's 
handling of the weapon, and his abstracted 
manner and speech Paul recognized the 
characteristics of the devotee, the zealot of 
the chase, a direct descendant of Nimrod. 



Star of the North 



137 



"We'll strike eastward in the direction 
of Skull Lake," said the factor, presently, 
and swinging up the light pack he started 
at once. From the edge of the clearing 
Paul waved June good-bye. She replied, 
but his half presentiment of other things 
afoot that he knew nothing of increased. 

Once the hunters had gone, June turned 
quickly back to the fort and went inside. 
An hour later she reappeared laden with 
a variety of utensils and packages, and 
went down to the beach at the river. By 
this time the brisk northwest wind had 
licked up the mists and the sun shone 
brightly. 

Shortly after seven a red spot appeared 
on the river up-stream and grew rapidly 
larger. It developed into a canoe paddled 
by a man, and presently Jack Dai Hie 
grounded the craft at her feet, and leaped 
out on the sand. 

He impulsively seized both her hands. 

"Have they gone?" he asked. 

"Yes, an hour ago." 

"Great ! And now for our wonderful 
day together!" He laughed gaily throw- 
ing back his head, his eyes sparkling. 

She wished to release her hands which 
he still held, and employed some of her 
newly acquired tact. 

"Jack, do help with the duffle. I was 
going to wait for vou to carrv it down the 
bluff, but—" 

"Well, you poor little snow-bird !" — he 
sprang towards the offending provisions — 
"You shan't do another thing to-day. You 
shall sit on a cushion and sew a fine 
seam — " 

"And help Mr. Baillie to paddle the 
stream," she finished for him archly, and 
he gave a whoop of appreciation. 

At the canoe she noticed that there was 
already considerable stuff aboard. 

"Did you bring things, too?" she asked, 
puzzled. "We can't begin to use all this 
in one day. Don't you remember I said 
you needn't bring anything?" 

He laughed easily, and swept his mane 
of dark hair back with one hand. 

"Yes, June, dear, but you know how it 
is. I thought perhaps there mightn't be 
enough, and then — perhaps I've got a sur- 
prise — you don't know !" 

"Oh, um! A surprise? What is it?" 

They talked surprises until the canoe was 
ready. Then, taking their places in bow 
and stern, they pushed off down-stream. 



And all at once the similarity of their 
positions to those of the disastrous day at 
the rapid, struck them both, and the sud- 
den chill of unexplained things crept be- 
tween them. 

Baillie felt it at once, and talked on with 
almost desperate gaiety. In their single 
meeting since the catastrophe he had con- 
tinually sensed June's unanswered ques- 
tion ; realized that he had lost ground with 
her. His excuse for his failure (loudly 
proclaimed from the moment the Graphics 
had started back to camp after the acci- 
dent), was that the wrecked canoe had 
struck him on the head and dazed him in 
the final plunge. 

But this received little credit at camp. 
For one thing he never offered to show 
the mark of the injury. He faced a cour- 
teous and careful, but none the less abso- 
lute, Doubt. 

He and June had spoken of the affair but 
once, and then Baillie had pleaded his case 
with a sincerity born of strenuous self -con- 
viction. He had convinced himself that 
he was helpless at the time, and he did his 
best to convince her. But he had felt when 
he finished, just as he felt now, that her 
attitude towards him had lost some of its 
responsiveness. It was detached, with- 
drawn ; as if she were sitting in judgment. 

Appreciating this, Baillie's eyes flashed 
with sudden anger and his cruel mouth set 
into a line of determination. To-day he 
would counteract this failure ; he would 
sweep her off her feet. He had planned 
this expedition the night he had heard 
Fleming Magragor invite Temple to go 
deer-hunting, and he was going to make 
the most of it. 

They left the fort behind them and 
rounded a magnificent curve of the steel- 
blue river. The breeze was cool, but the 
warmth of the sun tempered it and made 
the sparkling air like wine. June loved 
the feel of the wind in her face, and pres- 
ently took off her jaunty little knockabout 
hat with its red feather, and thrust it into 
the narrow bow of the canoe before her. 

And as the green and yellow banks 
glided by, she tried occasionally to reply 
in kind to Baillie's banter. But without 
spontaneity. Her thoughts and feelings 
upon this crisis in their relationship were 
too earnest ; her remembrance of the oc- 
currence too vivid. 

Her point of view was characteristic. 



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It was incomprehensible to her that he 
could have funked that rescue, for with his 
impetuous, passionate love-making, he had 
come to embody her girlish dream of a 
romantic lover. According to the world- 
old formula his virtues must be noble; his 
vices splendidly melancholy and mysterious. 
He may even have been wicked (how 
eagerly she would forgive, the penitent!). 
Dashing, debonair, reckless, temperamental, 
tender! All these. Hut a coward ! Never! 

And most damning of all was the fact 
that he excused himself. In her ideal of 
him there was no place for excuse. He ac- 
complished, or if he failed, his own death 
was his one and unanswerable defense. 
. . . During these days she had pon- 
dered long and deeply, and try as she 
might to excuse him to herself, she some- 
how could not. 

They paddled easily down-stream, sweep- 
ing along almost without effort. Occasion- 
ally a banded and crested king-fisher would 
drop like a plummet into the shallows, or a 
fish-hawk flap heavily along before them. 
Crows scolded invisibly in the forest, and 
once there was a great crashing of under- 
brush that June said was the frightened 
progress of deer or moose. 

Five miles below the fort they came at 
last to two islands. One was of good size, 
some quarter of a mile long: the other, 
lower down, was smaller, circular in shape, 
and thickly wooded. With its outcroppings 
of gray rock it looked like an impregnable 
fortress. 

June turned the prow of the canoe 
toward the larger, but Baillie veered it 
away. 

"I thought we were going to Mink 
Island," the girl said, turning in surprise. 

He laughed. 

"Oh, I like the little one so much better. 
You told me the other day it hadn't any 
name" (they had passed these islands on 
their way to the "take" at the canyon), 
"so I thought we'd go there and seize it 
for ourselves, and name it." 

"Oh, that will be fun !" She fell into his 
mood. "What shall we call it?" 

"Our Island. Do you like that?" 

"Oh, yes. How do you think of such 
nice things to say?" 

They approached the tufted rock cau- 
tiously for it showed no beach. The white 
birches, their feet embedded in moss, grew 
to the very water's edge, and it was by 



catching hold of one of these that they 
finally landed. 

Then they worked together unloading 
the canoe, laughing with the zest of adven- 
ture. 

"We're explorers," she said, "and we've 
come down this river for the first time. 
No one but the Indians have ever been 
here before. Oh, I wish it were true. 
I've always so wanted to be an explorer." 

"So do I wish it were true," he replied, 
with a different intonation, "just we alone, 
and no one else — forever !" 

When the duffle was unloaded Baillie 
tied the painter of the canoe to a tree 
trunk, and they "portaged their supplies 
inland," as June's fancy described it. "In- 
land" on their six acre domain proved to 
be a little natural clearing which lx>th 
greeted with shouts of delight. 

Then as the hours flew they fished from 
the rocks in sublime disregard of risk, the 
tackle for this being Baillie's surprise. And 
after that came the divine hour of razor- 
keen appetite, the incense of cooking things, 
and the merry meal. . . . 

When they had finished a more subdued 
mood came upon them. June sat leaning 
against a tree, and Baillie reclined beside 
her resting on one elbow. 

"If it were only true," he said, softly, 
"that we were here together, just you and 
I, to stay away from the world as long 
as we wanted. What a place for a honey- 
moon !" 

She could not meet his ardent gaze, and 
her eyes dropped. His hand went out and 
took hers, and this time she did not draw 
it away. And while he held it he talked 
on, telling her of his love, and all the while 
watching her closely for signs of returning 
subjection to him. 

And she — because that day together had 
been so perfect, their companionship 
fraught with such delightful untrammelled 
joy — she felt again his strongest appeal, 
an appeal that at once lulled her feelings 
and stimulated her emotions. So perfectly 
did he fulfill in every regard what her 
imagination demanded of him, that she for- 
got the one stigma he still bore. 

Wearied like children who have played 
long, they sat there while the hours of 
the sun-lit afternoon drifted away. And 
stronger and stronger in the man grew the 
conviction that he had triumphed at last. 
(Continued on page 158) 




THE IRON STRAIN 

By Mrs. Ray Long 



AS THE LAW OF LOVE RUNS 
NORTH OF FIFTY-THREE 

Produced bv Thos. H. Ince 



IT is a commonly accepted theory that 
the best and worst in man is brought 
out only by woman. Ezra Whitney 

believed it. But although he thought 
himself as good a judge of human nature 
as he was of the means to amass wealth, 
it had never occurred to him that the theory 
was quite as true the other way round till 
a short time after the coming out party of 
his spoiled, orphaned granddaughter. Octa- 
via Van Ness. 

"Octavia. dear, shake that young dandy. 
I.ockwood. and his friend. Lord Twiddle- 
de-dee," he said onj afternoon as he 
entered the drawing-room of his New York 
town house. He had met the two young 
men on his steps, leaving. It was the third 
time that week that he had met them in 
the same place. 

"Grampy, do be more elegant," was the 
girl's only answer. 



A half twinkle lighted up the old man's 
eyes but his words were still a command. 
•'Well, let them down easy then." he said. 

"Why?" There was cold opposition in 
the clear young voice. 

"Because they are not the kind of men 
I want my little girl to see so often," he 
answered gently. 

"But Harry I.ockwood and Lord Twill- 
bee belong to the best families here and 
in England," argued Octavia. "They have 
beautiful manners and they are my friends. 
What is there against them?" 

"They've each got a sweetbread for a 
brain." answered her grandfather tartly. 

Octavia's eyes flashed with anger till the 
tears of self pity came to put the fire out. 
"You are horrid," she cried. "If you don't 
want me to have nice men friends, what do 
you want? I suppose you'd ra'ather have 
me with the di-irtv men who work in vour 



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sho-ops." And sobbing passionately she 
ran from the room. 

Octavia was the last of the Whitney 
family. Since babyhood she had been her 
grandfather's pet. At first he had picked 
for her the most indulgent nurses and the 
biggest dolls. Later he had hunted till he 
found the easiest select boarding-school to 
finish his darling off. And when she was. 
grown to lovely, young womanhood with a 
face like a rose gleaming from a cloud of 
dusky hair, he had brought over the interior 
of a French palace to make his home 
worthy of her. He had not thought 
indulgences would hurt her. "The little 
girl has the stuff in her." he always argued 
when his methods were questioned. Now 
for the first time he was in doubt. 

He knew he was not wrong in the atti- 
tude he had just taken toward Octavia's 
callers. Her manner told him that she 
had more than a passing interest in one. 
he didn't know which. And he also knew 
he couldn't think of entrusting her happi- 
ness or her wealth to either. Why, oh why 
did she. a Whitney, take to such worthless 
fops ? 

The virile old man was hurt in his 
pride : but he was honest with himself. He 
went into this problem with an open mind. 
And he passed for review before his keen 
eyes the short life of the last Whitney, who 
had been brought up and molded by him- 
self, and who should stand in his place of 
power and fortune when he was gone. 
And he saw not a strong, sweet woman, 
but a pet, a little someone, who had never 
known anything finer than the life of a 
pampered kitten, whose comforts had all 
been furnished and whose fur had always 
been stroked the right way. Naturally this 
kitten girl wanted those around her who 
were experts at doing nothing but stroking 
fur the right way. 

"Never known a man in all her sweet 
life, not even me." he said pityingly. "I've 
been a soft, old fool." He got up; his 
heavy gray eye-brows relaxed. He gave a 
few orders and before the next night, he 
and his disgusted granddaughter were on 
their way to visit their mines in Alaska. 

A week later the Whitney train was 
panting like some fiery-eyed, undaunted 
dragon around steep Alaskan mountain 
sides, braving airy trestles over deep gorges 
or crawling cautiously over tumbling riv- 
ers. Octavia sat at the window of her 



grandfather's private car and looked out 
into the gloom of the fast coming night 
with a shudder. Vet she was too fasci- 
nated to turn away. They were Hearing 
the mining town built near her grand- 
father's holdings and something of the lure 
of the gold hunter had come over her. 
Her face flushed and her manner of bored 
endurance slipped from her as the lights 
of the town twinkled around her. Whitney 
was delighted at this first sign of interest. 
From the train they were taken to a com- 
fortable house kept in readiness for the 
Whitney visits. At dinner Octavia asked 
the questions of an interested girl and her 
grandfather had the glow of feeling that 
comes when a carefully calculated plan 
has begun to work. But the morning 
changed all that. 

Octavia had never seen a mining town. 
The word "gold" had always brought up 
to her visions of richness and beauty. In 
the strong, all revealing morning light she 
looked for those visions come true, for the 
promise of the twinkling lights the night 
before. And what she saw was what any- 
one sees in a mining town east, west, north 
or south, rows and rows of straggling, 
poorly built houses or rows of straggling, 
unlovely stores and saloons. Not a single 
thing of beauty, not a sign of richness. 
The disillusioned girl did not try to hide 
her hatred of it at all. 

On their way back from a visit to the 
stampmills. they met Chuck Hemmingway. 
a son of the well known Judge Hemming- 
way of Boston, and whom Whitney had 
summoned to call on his granddaughter. 
Young Hemmingway owned a mine farther 
inland, which he looked after himself. 

"My granddaughter isn't impressed with 
our country." said Whitney after he had 
introduced the young people. 

Hemmingway was making the most of 
his opportunity to look into the face of the 
first girl of culture he had seen for a year. 
He saw the something in the short dis- 
dainful glance he got from Octavia's 
brown eyes that determined him to see 
more of it. "Oh. she'll love every peak in 
these mountains before she leaves." he 
answered. 

"I prefer my mountains in Switzerland." 
said Octavia icily, and struck her horse 
with her whip. As she tore away, her 
grandfather apologized quickly, and fol- 
lowed, j :. 



The Iron Strain 



141 



Hemmingway stood where he liad 
alighted to greet < >ctavia. He was a big 
man and strong. He watched the slight, 
girlish figure galloping away and his mus- 
cles swelled as a big man's muscles do 
when lie's thinking of obstacles to be over- 
come. He. was making up his mind to 
light, if necessary, to get more and kindlier 
glances from this small antagonist, and he 
was unconsciously convinced that he was 
going to have need of all of his strength. 

< •< tavia lost no time in vetoing her 
grandfather's plan to visit Hemmingway's 
and other outlying mines. She liked her 
gold minted and exchanged for the things 
that pleased her and she told her grand- 
father so. She hated Alaska. She hated 
Hemmingway's assurance in talking to her 
when she showed plainly that she didn't 
want to be talked to. and his daring to 
visit her and her grandfather in flannel 
shirt and boots. 

"How would I look out here in the 
mountains in drawing-room clothes?" he 
asked after he had heard what- she thought 
of his garb. 

: 'I am sure 1 do not know ; I should not 
look to see," answered Octavia. 

Hemmingway set his jaws — and staid 
on. The girl was like a magnet to him. 

As the days went by. Whitney despaired 
more and more of weaning ( ktavia from 
her frivolous life by interesting her in 
primitive people and country. 
He gave himself up as beaten. 
He told himself he had tried 
too late, had spoiled his 
granddaughter's life in bring- 
ing her up such a butterfly, 
and must take the conse- 
quences in disap- 
pointment Fi- 
nally, one aftei- 
noon when Hem- 
mingway w a s 



with them he announced that he and 

< >ctavia would start for Xew York the 
next day. 

"Tomorrow?" repeated the young man. 

"Yes, tomorrow," answered Whitney. 
"Come back with us in my car." 

The announcement that Octavia would 
leave the next day made Hemmingway 
pale. Beads of perspiration stood out on 
his forehead. But at the invitation to 
spend a week in close companionship with 

< >ctavia. his blood came pounding back. 
He hesitated, then shook his head. 

"I can't tell you how much 1 thank you. 
but I'm needed here," he finally answered. 

For the first time since their acquaint- 
ance, Octavia allowed herself to show a 
gleam of interest in Hemmingway and his 
affairs. She was surprised that the man 
who. had bothered her with his attentions 
when she had so plainly shown him they 
were unwelcome, could resist this invita- 
tion to be near her. She was also piqued. 

"You prefer to stay in this beastly hole 
to coming Fast with us?" she asked dis- 
dainfully. 

"I shall always stay here the larger part 
of my time." he answered soberly. "The* 
mountains are real." 

Octavia gave him one annihilating 
glance, excused herself and left the two 
men ^together. But Hemmingway didn't 
look in the least annihilate;! as he turned 



When Hemming- 

way tried to 

tempt her to eat. 

she dashed 

the plate to 

the floor. 




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to the older mining king. He argued 
something respectfully hut vehemently. At 
first Whitney looked horrified. But as the 
younger man continued, the older grew 
thoughtful, then enthusiastic. They parted 
with a handclasp of unusual length. 
Hemmingway rode • straight out to the 
shack of Joe 1'oxskin. an Indian whom he 
could trust. Whitney prolonged dinner 
with his granddaughter and kissed her with 
wistful fervor as they hade each other good 
night. 

It was near midnight when Octavia felt 
rather than heard a movement in her room. 
She sat up tremhling with fear trying to 
make it out. Hut. before she could detect 
what made it or cry out. a bandage was 
slipped over her lips and tightened with 
one twist. Then she felt herself lifted 
gently and carried toward the window. 
She tried to struggle and was conscious 
only of the queer feeling it gave her when 
her fists heat on arms that seemed made of 
hard, unimpressihle hunches. Then dully 
some words said over again and again in 
her ear, took shape and meaning. "It is 
I, dear. Chuck Hemmingway. Ho not he 
afraid." 

Peculiarly, she realized, the words did 
dissipate all her fear. But a wild fury 
took its place. And her rage hecame so 
all absorbing that she remembered nothing 
of the swift ride that followed or that an 
Indian was with them. Her whole being 
resolved itself into one prayer, one deter- 
mination, that she become strong enough, 
as .this man was. to control circumstances. 
She had met a man. different from the 
puppets she had known, and that was the 
first effect of their contact. 

It did not surprise her when she was 
set down in the poor little parlor of a 
Justice of the Peace or when she was told 
that she and Hemmingway would he man 
and wife before another quarter of an hour 
had ticked away. Still that fury possessed 
her. that fierce impulse to become strong 
too. 

Tile questions of the Justice began. 
Mechanically she answered her share in the 
affirmative. She did not sulk or refuse. 
She acknowledged her defeat hut with the 
hot feeling that she would he a conqueror 
in the end. 

Hemmingway's cabin was up the canyon 
of a wild mountain near his mine. Its 
furnishings were made from the limbs of 



the trees that had been felled for the logs 
to build it. The effect was rougli and 
artistic. Octavia had seen such in the 
verandas of Adirondack Mountain houses. 
Hut she never had seen the kind of dishes 
that held the food set before her by Joe 
Foxskin's squaw. They were of granite 
ware. She loathed them. When Hem- 
mingway tried to tempt her to eat. she 
dashed the plate to the floor. Hut it did 
not break. Like everything else in this 
rock-ribbed country, it was made for 
strength. 

Octavia was allowed to do exactly as she 
wished and left almost entirely to herself. 
She was both mistress and guest of the 
cabin. The old squaw was the only 
servant. 

One day about a week after bringing her 
there. Hemmingwav came hack for a 
heavier coat in the middle of the morning. 
His visit was unusual at that hour. Octavia 
never saw him till he came for lunch, as 
he breakfasted and went to work with his 
men. As he entered, Octavia, broom in 
hand, was teaching the squaw how to get 
the dust out of a corner. Hemmingwav 
stood amazed. 

"Any fool could push a broom around 
the room." snapped the girl, her face burn- 
ing with anger at Hemmingway's evident 
surprise that she could do anything. 

"I beg your pardon." began Hemming- 
way, confused, "but I didn't think you 
would — •" 

"Of course, you didn't." cut in Octavia 
with a haughty toss of her head, "but I've 
never had dirt around me and I don't 
intend to have it now." and she went on 
with her instructions as if Hemmingway 
were not there. 

The young man forgot his hurry. He 
stood gazing at Octavia's energetic little 
figure with his heart in his eyes. And all 
the way hack to the mine he saw only an 
imperious little face in a glorious frame 
of hair turned angrily toward him. 

"Little queen!" he murmured. "If she 
only knew it. she could twist me round her 
slender little fingers. I'd give the mine for 
a hit of her love." 

Hut while Hemmingway admired and 
his love grew, even he did not see all the 
change taking place in Octavia. Neither 
did she. Ill all her gilded school days, no 
one had ever told her that ability and 
poster grow by using just as muscles do. 



The Iron Strain 



143 



Perhaps no one had told her about her 
muscles either. 

But in this outdoor world, the use of 
mind and muscle came naturally. 

"You saucy squirrel, stop chattering, and 
tell me what you see up there," called 
( 'ctavia one afternoon as she sat on the 
ground and looked up into a tree where 
a gray squirrel was making a great fuss. 
At the sound of her voice, the squirrel 
swung out gracefully from one branch to 
another and was gone. < tctavia was jeal- 
ous. Perhaps the instinct of some millions- 
of-years-off arborial ancestor was working 
in her. Anyway she decided to go up the 
tree and find out for herself what the 
squirrel saw. 

The trunk wasn't very difficult, as the 
branches grew low, but she slipped back 
again and again. Each time she went back 
made her more determined to go up. 
Finally she got a knee-hold in the .first 
crotch and dragged herself up. 

It was now a tug to get her skirt out of 
her way for the rest of the climb. Besides, 
her hands were scratched and her dress 
torn. 

"Oh, what does it matter out here with 



The angry woman turned and 
rushed at her. But Hemmingtcay's 
big body teas thrust between." 



no one but Mr. Hemmingway to see me?" 
she told herself. ''Up in these leaves will 
be a great place to hide when I want to 
get away," and on she went, stretching her 
young arms, pulling herself up as soon as 
she got a good hold, and using her knees 
as wedges to pry herself forward till at last 
she was high in the free breeze like a wild 
thing looking down on the affairs of earth. 

"Oh-ho." she called just to hear the echo 
ring against the mountains. 

"Oh-ho," came back her cry, short and 
sharp. She revelled in the sights and 
sounds from her eerie perch. 

The sense of freedom got into her con- 
sciousness. "Oh, pretty birds," she cried 
to two magpies gleaming black and white 
in the tip top of a tall pine tree. "I wisli 
I could live in the trees like you and the 
squirrels." Just then she heard a horrible 
squawking. She turned to see one of those 
swift tragedies of the forest. A hawk had 
swooped down on a blue jay's young just 
as the parents were returning with food. 
Both birds were trying to beat off the 
kidnapper. 

"Fight, fight!" screamed Octavia as the 

three darted about and pecked each other 

in the air. "Kill the old hawk." and the 

excited girl almost fell out of the tree 
as she involuntarily started to help the 
parent birds. After the fighters were 




144 



Photoplay Magazine 



lost to view in the leafiness. she climbed 
down and started slowly toward the cabin, 
lost in reverie. 

"Just a minute, little Missy." 

The words came out of the thicket. 
( )ctavia started. Beside her in the leafy 
growths sat a leering, unkempt man. A 
bottle lay near. The man jumped up and 
stepped to her. "Nice little Missy, I won't 
hurt you." he drawled insinuatingly. 

Octavia felt frozen. Something in the 
look and words frightened her as she had 
never been frightened before. As she 
started tardily to run. the man grabbed her 
by the arm. That grab warmed her chilled 
powers with wrath at the outrage. Her 
high voice rang out as if she were making 
echoes, only now the tone w : as agonized 
and the word was "Help!" 

Hemmingway was not far up the trail 
coming from work. With a few bounds of 
his horse he was there. 

"Carrion," he snarled as his hard fists 
beat the face of the half drunken man till 
the blood spurted. Octavia turned away 
and hid her face in her hands. 




•You 



-you thoroughbred!" was all Hemmingway could 
manage in his emotion. 



"Was I too much of a brute?" he asked 
contritely as he dropped the now uncon- 
scious man. . 

Octavia took her hands from her white 
face. "No," she said, "only the blood 
makes me a little sick. You did just what 
I wanted to do to a horrid hawk that was 
stealing little blue jays today, and just 
what I'd like to have done to him." point- 
ing to her assailant. "Will you teach me 
how to use a gun?" 

Hemmingway could have cheered. From 
his first look into ( )ctavia's eyes, he had 
known that the spark of the woman with 
fire was there. All he had wanted was the 
chance to bring it out. He had brought it 
out. and he exulted. Vet in an instant his 
mood changed. He felt himself a weak- 
ling. Here was the mate of his ideals, 
sweet, dainty, cultured, and yet alive as he 
demanded his woman companion must be 
alive to her power of joint inheritor of the 
earth with man. And what had he gained? 
Not a look even that she would not have 
bestowed on an ordinary acquaintance. 
As the days of the short summer went 
by. < ktavia showed no sign that 
she grieved over her captivity. She 
had sent out letters at first to her 
grandfather by Hemmingway's 
carriers asking that he come for 
her. But she got no answer. Vet 
she was not troubled. Her days 
were full of new interesting things 
and a strange joyousness possessed 
her. After the incident when he 
had protected her with his fists, 
she spent more time with Hem- 
mingway. 

"Fine morning," he w : ould often 
greet her. "Anybody want to help 
get grouse enough for supper?" 
Then Octavia would take the light 
rifle assigned her and away they 
would go down the rocky canyon 
to the pleasant little natural 
meadow widenings where the wood 
fowls came to eat grasshoppers. 
Often they would digress from 
the lower trail and strike up the 
mountain side to gather bright 
wild flowers or just to climb. 
Octavia's muscles grew springy as 
a doe's. She loved the very feel- 
ing of her lightness. But she also 
loved the exhilaration of the high 
places where she could look off 



The Iron Strain 



145 



over the rolling mountains. She never 
refused the invitation to climb. 

"Will you forgive me?" asked Hem- 
mingway one day as he scaled a difficult 
rock and looked around startled to find 
( htavia beside him. "1 forgot to help 
you." 

"I will not forgive you." panted the 
breathless girl. "It was a compliment to 
forget me. I can climb wherever you can." 

Strangely. Hemmingway wasn't as 
pleased at this and other like developments 
of the girl's strength as he had been. He 
began to think that if < )ctavia was a little 
less able she might accept some tenderness 
from him. He craved her entire compan- 
ionship more and more. He was becoming 
desperate as to how he should awaken her 
love. 

One evening as they sat in the white 
light of a pitch pine lire in the big fire- 
place that < (ctavia loved. Joe Foxskin 
brought Hemmingway a note. Octavia 
puzzled over the queer half smile that 
passed over his face as he read it. He got 
up. excused himself and followed the 
Indian out. Octavia was tired with the 
day's ramble so she went to her room and 
dropped drowsily onto her bed, telling 
herself she'd only nap a few minutes. In 
an instant she was asleep. 

Suddenly she sat up. She was cold with 
a sense of disaster. There had been no 
noise, nothing to startle her. yet she felt a 
nameless danger. She jumped up and 
moved cautiously to the door of the one 
living-room. Before the fire in a large 
chair sat a woman who looked like the pic- 
ture? of burlesque actresses Octavia had 
seen. There was too much of her in every 
way. too much rouge and powder, too much 
hair, too much ornamentation and by far 
too much flesh showing above the low 
bodice of her flashy gown. She had 
grasped Hemmingway with one naked arm 
and was trying to cajole him to sit on the 
arm of her chair. Octavia darted in. 

"Who is this woman?" she asked coldlv 



of Hemmingway as he shook oft" the hold 
on his arm. 

"So you are Chuck's little piece of 
rococo?" broke in the woman before Hem- 
mingway had a chance to answer. "Now 
I'll tell you who I am. I'm Kitty Molloy. 
Chuck was sweet on me till you happened 
along while I was down Dawson way. 
Now I'm back and I'm going to have him." 
As the woman finished she again stretched 
out her arm to take hold of Hemmingway. 

Instantly Octavia was like a tigress. She 
grabbed a chair, raised it above her head 
and whirled on the dance-hall actress. 
"Mr. Hemmingway's my husband !" she 
cried. "Touch him and I'll crush you as I 
would a worm ! ( let out ol here I" 

Hemmingway stood staring with almost 
unbelieving eyes at Octavia. The actress 
screamed for protection. But he did not 
hear. So she ran for the door and Octavia 
lowered her chair. As she did so the angry 
woman turned and rushed at her. But 
Hemmingway's big body was thrust be- 
tween and with one push he had put the 
intruder outside. Then he turned to 
Octavia. The girl was trembling now, but 
her eyes blazed. 

"Octavia," began Hemmingway hoarsely, 
"you called me your husband just now — 
your husband?" His whole manner was 
one eager question. 

"Yes." snapped Octavia, "and I want 
you to know that if anybody tries to meddle 
with you. I'll smash her all up just as you 
did the man who grabbed me." 

Hemmingway had to exult a second 
before he could move. Then tenderly, 
yearningly, he reached out his two hands 
to Octavia's face and held the precious 
countenance to him. 

The hot fire of anger died out of the 
brown eyes and a shining light took its 
place. 

"You — you thoroughbred !" was all 
Hemmingway could manage in his emo- 
tion. And it seemed to satisfy Octavia 
even if it was inelegant. 



OHARLES CHAPLIN announces that 
^he has taken unto himself a new pair 
of old shoes. He has trudged about in the 
famous old pair until there is hardly any- 
thing left of them. Mr. Chaplin will spend 



all of his spare time cultivating a charac- 
teristic shape to the shoes. He won't tell 
where he bought the shoes but it is darkly 
hinted that he found them in one of the 
second-hand stores in San Francisco. 




Sea-Goin£ Movies 

Swung between heaven and earth, with all supports eerily invisible at night, this motion piflitre sereen teas one of the biggesl novelties and greatest attraflions oj 
the year on the sands of Brighton Beach, which lies a trollcycd forty-five minutes south of New York City. The chairs were filled each evening for many hours. 



Honolulu's Garish Ni£ht 



THE EXILED WORLD AND ITS 
WIFE, AT THE PICTURE PLAY 

By Nathaniel Pfeffer 



IF you ran call Honolulu, as they do. 
the melting pot of the races, then surely 
it is the moving picture that stirs it. 
In all this intermingling of races, 
nationalities, civilizations and centuries the 
one plane where they all meet, the one 
thing that crosses all lines, is the moving 
picture. It is the only thing they all 
share, the only thing they all enjoy. You 
can see better films in better theaters in 
New York or Chicago or San Francisco 
or in any small village in the prairie 
states, but nowhere; will you find them in 
a more picturesque setting. 

Picture to yourself at the end of a 
crooked, narrow alley a 
strange, shabby structure 
with tin walls, say twelve 
feet high, and open to the 
skies. Imagine the inside 
of that enclosure a row of 
wide planks set on cross- 
pieces on the uncovered 
ground, with a structure at 
one end that supports a 
large screen. Imagine that 
interior filled with an audi- 
ence in which are seated side- 
by side Japanese in their 
flowered kimonos and sham- 
bling "getas" or wooden 
shoes; Chinese, the women 
in their richly hued and 
dainty coats and trousers : 
Hawaiian women in their 
shapeless "holokus." a sort 
of Mother Hubbard : Fili- 
pinos. Koreans. Portuguese 
and a few whites and per- 
haps a man in l T nited 
States army uniform. Pic- 
ture that audience, so composed, dropping 
tears over the sorrows of Mae Marsh, 
quivering with excitement over the thrill- 
ing adventures of Kathlyn Williams, or 
rocking with laughter at the antics of John 
Bunnv. Picture that and vou have the 




From their shops in quaint, crooked 

lanes they come to the arc-lighted 

kraal, where the light on the screen 

begins to flicker at sun-down. 



ordinary moving picture theater in Hono- 
lulu. 

For here in this outpost of the L'nited 
States, in the middle of the Pacific half 
way between America and Asia, there are 
intermingled, and in almost equal propor- 
tions, Japanese, Chinese, Filipinos, Kore- 
ans, Americans, English, Germans, Portu- 
guese, Russians, Spanish and scattered 
groups of other nationalities. While it is 
an American city and it takes its color from 
the Americans, to all intents and purposes 
every element of the population has pre- 
served its own life and its own civilization. 
Each clings to its own customs, its own 
manners, its own costume, 
its own churches and tem- 
ples, its own language, its 
own magazines and news- 
papers, its own food, its 
own shops, its own theaters 
and music, its own amuse- 
ments — and its own vices. 
Walk three blocks down 
Fort Street — the main thor- 
oughfare — and you will 
pass people of seven or 
eight different nationalities 
and shades of color, wear- 
ing clothes of as many dif- 
ferent kinds and colors, 
reading newspapers in as 
many different languages, 
conversing in as many dif- 
ferent tongues. F olio w 
each to his home and it 
will be as if you had with 
dream-like swiftness visited 
as many different parts of 
the world. 

Honolulu is. in other 
words, a rough cross-section of the hu- 
man race and the life of all its elements. 
All this, remember, in a city of 60.000 
people and small enough to be comfort- 
ably placed in one corner of New York 
or Chicago ; and, more than that iso- 

147 



148 



Photoplay Magazine 



lated in an island in the middle of the 
Pacific. 

That the moving picture more than 
any other one tiling should so completely 
have won its way in such a place, should 
so completely have conquered this world- 
population, means something. It is only 
a few years since the moving picture 
has found its way out here. • Yet I am 
told there are no less than 35 motion pic- 
ture theaters scattered in all parts of the 
city, and they are all prospering. And 
they are everywhere — in the business dis- 
trict, in the residence sections, in the Ori- 
ental quarter, on the slopes of Punch- 
howl, an old extinct crater on the heights 
on which the Portuguese settlement sits, 
out in the plantation camps, at the army 
posts — everywhere. Wherever there is 
a group of houses there is also the tin- 
walled, roofless structure with its little 
stand in front that indicates the movies. 

Nor do I know any place on the main- 
land — as continental United States is 
called out here — where the "movie 
craze" has any stronger hold than here. 
Under the soft tropical Hawaiian moon 
the cry of "Ma, let's go to the movies," 
is as insistent as it is in any flat-dwellers' 
section of any city of the United States, 
even though it be voiced in a dozen dif- 
ferent tongues. And under the tropical 
moon Ma and Pa and a quartet of eager 
youngsters, in kimonos and mandarin 
coats, bare feet and legs, troop eagerly 
to the movies. 

So as soon as night has fallen they 
come as if by secret summons. I-'rom 
their quaint little shops in the quaint, 
crooked lanes ; from the little barrack- 
like cottages of the plantation workers; 
from the homes of the more prosperous 
business men, the comfortable burghers, 
they come to the arc-lighted kraal where 
the light on the screen begins to flicker 
with the waning sun. There is the care- 
free Hawaiian, with his rich brown col- 
oring, his happy-go-lucky manner, and 
his woman in her holoku. There is the 
wrinkled Japanese in his kimono with 
bare legs showing, and his wife with her 
gaudy "obi" and perhaps a baby hung 
on her back, papoose fashion : there is 
the dainty, piquant young Chinese girl 
in her lavender coat and trousers, her 
black shiny hair drawn tightly back from 
the forehead and caught in a knot by a 



dull gold band, and jade earrings hang- 
ing from her ears ; there is the aged 
Chinese sage, with his Oriental look of 
fathomless wisdom and the sparse chin 
whiskers for corroboration ; and with him 
his wife, a bulky grandam, garbed so- 
berly according to her years in black 
satin coat and wide bulging trousers, 
for her girth adequately measures her 
years. And there are the same giggling, 
unruly children who ask questions out 
loud and run up and clown the aisles. 
It is a study in sociology, psychology, 
ethnology — what not? — to sit in such an 
audience and watch the play of emotion 
across those faces as one of the old-time 
hair-raising, blood-and-fire melodramas 
or a Keystone comedy is flashed on the 
screen. For the assortment of films is 
as odd as the audience ; there are the old 
cast-off films of the pioneer days that 
have made their way down from the 
large cities across the Pacific, and there 
are some of the latest releases. 

I spoke in a sense literally when I 
referred to their coming as if called by 
summons. The method of summons is 
unique enough to deserve mention. In 
the Oriental quarter on certain afternoons 
you will see little carts slowly threading 
their way through narrow streets and in 
and out of lanes. On each side of the 
cart will be white canvas spread with the 
sprawling scrambled Oriental characters, 
in which one line may be a chapter or a 
punctuation mark. On the wagon will 
be a Chinese or Japanese monotonously 
and phlegmatically pounding an ancient 
gong. Every few blocks he will stop, 
step down from his cart, and addressing 
the heavens, proclaim in high whining 
nasals what I know only from hearsay to 
be an announcement of a special attrac- 
tion at some theater that evening. It 
may not be so effective, but it surely is 
more picturesque advertising than the 
newspaper columns. 

I wonder if Mary Pickford and Mary 
Fuller and Francis Bushman or any of 
the others in the galaxy of stars in the 
big studios ever dream that their most 
ardent admirer may be some brown- 
skinned slip of a girl whose grandfather, 
garbed only in a loin cloth, combed the 
beach on a tropical isle in the Pacific ; 
or a slender almond-eyed maiden whose 
ancestors centuries before the Christian 



Honolulu's Garish Night 



149 



era delved in the mystic lore of the Land 
of the Dragon. I have no doulit you 
would find in the bare-walled room of 
many such a girl here, clipped photo - 
graphs of her favorite moving picture 
actor worshipfully pasted on the wall 
uver her bed. If in their moments of 
depression and doubt some of the actors 
and actresses of the camera could only 
realize into what undreamed-of places 
their work has brought happiness! 

Speaking of clipped photographs. 1 
should say in passing that when on my 
arrival here three months ago I walked 
up Fort Street from the dock. I passed 
a news-stand with out-of-town newspa- 
pers and magazines, and displayed 
thereon were copies of Photoplay 
Magazine. And later I was told by 
the newsdealer that it has a big sale. 
Perhaps that is as good proof as anything 
else of the moving picture's popularity. 

I found another familiar theatrical 
sign here. I discovered that not only 
in the big city is the moving picture 
"encroaching on the legitimate theater." 
It is encroaching here. too. There was 
a time when all the Oriental peoples had 
their own theaters with their own com- 
panies, playing native plays. Hut that 
time is gone. What was once the Aashi 
theater, where the gorgeous costumes of 
I apanese actors were paraded in age- 
long dramas, is now showing moving 
pictures. Where once the Chinese prop- 
erty man held languid sway 
over the stage of the old and 
picturesque theater on Kekau- 
like Street. Universal and Selig 
films now hold the boards — 
or screen. The movies have 
done it. Many an old 
sage wags his head at 
these degenerate days ; 
but. Chinese as Chi- 
cagoans. they flock to 



the movies, and dignity may go hang. 

In stressing as I have the theaters of 
the Orientals and other foreign elements 
I may have given rise to some misunder- 
standing. I do not mean to give the im- 
pression that there are no theaters here 
but those of the tin walls. There are. The 
white population of course demands better 
theaters and films and gets them. There 
are in the center of the city four large 
theaters, where you can see the best fea- 
ture films from the best studios, just as 
you can in any large city on the mainland. 
Annette Kellermann. for instance, packed 
houses for some time. So did "The 
Escape," "The Typhoon," or any of the 
other recent successes. You can see as 
good films here as you can anywhere else. 

I laid such great emphasis on the hum- 
bler and unique places because I wanted 
to bring out what cannot be shown any- 
where else so well as here — the universal- 
ity of the moving picture. It requires for 
its understanding and enjoyment no com- 
mon blood, no common environment, no 
common speech. It speaks with a uni- 
versal tongue. Without the pompous pre- 
tense of many other arts and institutions, 
it is doing more, perhaps, to level race 
barriers, to bind the tics of humanity, than 
any other agency now at work. And that 
makes it more than a profession, more than 
an art. It lends those engaged in it a 
dignity that need look in envy toward 
none. 



// Honolulu is 
the melting pot 
of the races, then 
suretv it is the 
moving picture 
that stirs it 





The Hartjcrd {Conn. ) picture theatre which Rev. H. E. Robbi.is operated as a church adjunct. 

Moving Pictures in the Church 

HOW A MINISTER AIMS TO TEACH CHRIST IN PICTURES 



'' I'O be as wise as 'the children of this 

A world.' as Christ enjoined his emissa- 
ries, the duty of the churches is clear to 
adopt the moving picture as a part of the 
regular service for the instruction and com- 
prehension of Christianity." 

That is the assertion of the Rev. Harry 
E. Robbins. who as rector of a fashionable 
Kpiscopal church of Hartford. Conn., pio- 
neered the movement by opening and main- 
taining as an ecclesiastical adjunct a first 
class moving picture theatre, despite the bit- 
terest criticism from the tongues and pens 
of brother churchmen. 

"Walking in where angels had feared to 
tread," is how Mr. Robbins characterized 
this experience. But his success was almost 
instantaneous. The press, and men of 
broad thought and vision in the community, 
supported him vigorously. 

"I think I am now in a position." de- 
clared Mr. Robbins, "to point a definite 
way to the clergy who have courage enough 
10 make the venture, so that they may take 
advantage of one of the greatest powers 

1=0 



for education that the race has yet seen, 
and that they may not come to wreck on 
the rocks of ignorant, bigoted prejudice. 
In order to carry out my plan for extending 
the good influences of moving pictures to 
the uses of Christianity, a centralized work- 
ing organization was necessary, and that I 
now have. Wherever there is some wide- 
awake and energetic clergyman who is in- 
terested, I am going to send him a young 
business man from New York who, with 
the help of those interested, will organize 
enough responsible persons to run a model 
movie, good enough from an artistic stand- 
point to compete with other houses, and yet 
so clean and useful as to disarm the criti- 
cism of the most narrow church member. 
We will attend to the booking at absolutely 
no cost to the local organization." 

Mr. Robbins is meeting with wide suc- 
cess in this venture. In many cities, and, 
even in small rural communities, may now 
be found moving picture theatres owned 
or leased and operated by the churches, as 
a direct result of his vigorous propaganda. 




JUST A FEW LETTERS FROM OUR READERS 



A Body Blow! 

London, Canada. 
Photoplay Magazine. 

Gentlemen: It is not (lattery when I tell you 
that Photoplay Magazine is the hest all- 
round moving picture magazine. The photo- 
players' gallery is beautifully printed, and 
other departments are excellent. The only 
poor feature is the Rocks and Roses depart- 
ment, which, in my estimation is a waste of 
space. ' If these pages were used for "Letters 
to the Editor," where readers might express 
their views on different photoplays, they would 
be much better employed. Very truly, 

George 11. Gai.rk.mth. 



Calls Fiction Lurid 

Los Altos, Calif. 
Photoplay Magazine. 

Gentlemen : Your magazine holds interest 
so well that 1 don't even like to abandon it 
for my meals. Hints on Photoplay Writing 
is of exceptional interest, especially when you 
have just answered an ad. (in ambitious des- 
pair) of a "scenario school." Now a rock! 
Some of your fiction stories remind me of a 
dime novel. Wouldn't it be l>etter if you pub- 
lished the cleanest and most helpful stories. 
"The Fox Woman" in the September issue was 
decidedly bad. Sincerely. 

A. WetlmaN. 



He .Says They're Great 

Alameda. Calif. 
Photoplay Magazine. 

Gentlemen : While waiting at the San Fran- 
cisco ferry to commute across the bay, I usu- 
ally glance over the magazines at the news 
stand. The other day 1 spied the PHOTOPLAY 
MAGAZINE. 1 ran over the pages in haste, and 
seeing the picture of Theda Mara, purchased 
the magazine immediately. The stories are 
great, and I am sure from now on T will be 
one of the many constant readers. Very truly 
yours, Dante Pattarga. 



Forty-Nine Fever Again 

Minneapolis. Minn. 
Photoplay Magazine. 

Gentlemen : You have some magazine ! I 
stumbled on it at a news stand four months 



ago and it has opened my eyes to many things 
about the movies that make them ever so much 
more interesting than before. The beautiful 
pictures of California have given me the fever 
to move out there. Enclosed find money order 
for one year's subscription, for 1 do not want 
to be without it for a single issue. Yours 
trulv, I'. Arthur Fraser. 



He's Satisfied 

Houston, Texas. 
Photoplay Magazine. 

Gentlemen: The world-wide popularity of 
the motion picture has created a demand for 
an up-to-date periodical, dealing in an un- 
prejudiced manner with the ever-changing 
conditions and happenings of filmdom. In 
Photoplay Magazine my longing has been 
satisfied, and in my opinion your magazine is 
as far ahead of your competitors as the East 
is from the West. Such a thorough under- 
standing of the wants of the public as you 
display is an embodiment of the word "Serv- 
ice." Yours, satisfied, 

Charles Windham. 



Why She Subscribed 

Detroit. Mich. 
Editor Photoplay Magazine. 

Dear Sir: Have only recently subscribed to 
your wonderful magazine, although I have 
been reading it for some time. I became so 
out of patience with missing a few numbers, 
just because the news dealer had sold out. that 
I decided to insure myself against future 
worry on that score. Sincerelv. 

Mrs. H. J. "H. Hossbein. 



Stories Improve Pictures 

Utica. X. Y. 
Editor Photoplay Magazine. 

Dear Sir: I attended the movies rather in- 
differently, until T became a reader of Photo- 
play Magazine. Last week I saw "Seven Sis- 
ters." which was all the more enjoyable owing 
to my having read it in story form in your 
magazine. Sincerely. 

Phyllis Gray. 



151 



152 



Photoplay Magazine 



A Gulliver Reads Us 

Port Allen. Hawaiian Islands. 
Editor Photoplay Magazine. 

Dear Sir : It is impossible for me to be a 
subscriber to your magazine, as 1 am going to 
sea and travelling over the country a great 
deal : but 1 always buy the magazine wherever 
1 happen to be. While in Chile I missed the 
June number and wish it forwarded to me. 

. . F. E. Behre. 



In Good Company 

Phoenixville, Pa. 
Editor Photoplay Magazine. 

A good many years ago I read that one could 
always find something new in the Bible, the 
Constitution of the United States and Stephen 
Girard's will. I think Questions and Answers 
in Photoplay should be added to the list. 
Mrs. Lewis J. Eisel. 



Hall Room Art Gallery 

Kirkwood, Mo. 
Editor Photoplay Magazine. 

Sir: My little hot room after my day's work 
used to look dreary and blue, but not any more 
since I've begun to read Photoplay, for all 
the lovely pictures are carefully cut out and 
pasted' on the walls — except the one of sweet 
Alary Pickford with the tears. I love her so 
much I hate to see her sad. Sincerely, 

Rosary Gostly. 



Confessed Truant 

Trinity College, Durham, X. C. 
Editor Photoplay Magazine. 

Sir : 1 have only one objection to Photoplay 
Magazine and that is my inability to concen- 
trate on my studies as long as one of them is 
around. Of course no one is to blame for 
that but myself. Photoplay Magazine is un- 
doubtedly the best magazine I ever put un- 
hands on. Sincerely. YV. D. See. 



Thanks ! 

St. Paul. Minn. 
Editor Photoplay Magazine. 

Sir: Your September issue has just arrived 
and 1 must congratulate you on the cover de- 
sign. It's a masterpiece. Keep up the good 
work. The whole magazine is getting better 
with every issue. Sincerely, 

D. T. Stetson. 



Summer Flirtation 

St. Paul, Minn. 
Editor Photoplay Magazine. 

I think your magazine is one of the most 
entertaining companions for the hot summer 
months. The impressions by Julian Johnson 
are superb. Please give us more of them, and 
keep up the interviews, for they are fine. 1 
would like to see interviews with Grace Cunard 
and Francis Ford, who are my favorites. 

Sincerely, Ai.ke Ma as. 



Wants Less Fiction 

Oakland. Calif. 
Editor Photoplay Magazine. 

Dear Sir : In my opinion the fewer stories 
you publish, and the more articles, the better. 
Your "Seen and Heard" Editor must be 
asleep. The "Scott's Emulsion" joke in the 
August number is fully io years old. and I 
note that several of the contributions are 
merely copied from the leading humorous pub- 
lications. You must be hard up for material 
to use these jokes. Your stand against school > 
is excellent. On the whole, I think your maga- 
zine is without a peer in its field, and getting 
better every issue. Very truly, 

H. F. Ri-ssell. 



The American Mail 

Rushcutters Bay. Paddington. Australia. 
Editor Photoplay Magazine. 

Dear Sir: I beg to congratulate you on your 
splendid publication. 1 look forward with 
keen zest to the arrival of the American mail, 
principally because it brings my Photoplay 
Magazine. Sincerely, Walter 1 1. Silly. 



Cover Admired 

Jersey City. X. J. 
Editor Photoplay Magazine. 

I am an admirer of Photoplay Magazine. 
and have a bookcase for that publication alone. 
I was much pleased with my favorite. "The 
Goddess," on the September cover. 

Anna McCi.ellan. 



Blow the Blue Nose! 

Baltimore, Md. 
Editor Photoplay Magazine. 

Dear Sir : It seems to me that a publica- 
tion of the character of Photoplay should 
exert its influence, through a wide circulation, 
more strenuously on the quesion of censor- 
ship. I am not in any way interested finan- 
cially in pictures, but as an American citizen 
it galls me to have a group of men appoint 
themselves the guardian of my susceptibilities. 
If you took a more vigorous stand I believe 
you could drive these "blue-noses" out of 
business. Will you help the fans, as they 
deserve? Verv truly, 

William H. Caulke. 



A Literary Reveille 

Xew Orleans, La. 
Photoplay Magazine. 

Dear Sir: In one respect your magazine 
has proved a real blessing in our home. My 
son is just twelve years old. and a harum- 
scarum sort of boy. with no interest in books. 
When Photoplay comes, however, he joins 
the general struggle to be first to read it. I 
never was able to interest him in reading, try 
as I might, but your publication seems to have 
solved my problem. Although I am glad to 
see him take interest in the magazine, I some- 
times wish he wouldn't make it so intense, as 
I get impatient to read the latest in your de- 
lightful magazine myself. Sincerelv. 

Mrs. Raoul V. De Belleville. 



"The New Twist" 

. By Phil Lanfe 

(Vice-President of the Kalem Company) 

NOTE:' — Mr. Lang has been for some years editor of Kalem, and is now in a 
higher offiee. His concise, forceful statements on neve angles in the craft of photo- 
playmakiiHj, given below, should And countrywide appreciation. Mr. Lang's authori- 
tative comments were written exclusively for Photoplav Magazine. 



WHERE do the ideas for all these 
pictures come from? 
When an old idea is revamped, 
one can see from a careful an- 
alysis that some novel element has been 
incorporated in the story. The fan aspir- 
ing to photoplaywriting, however, fre- 
quently loses sight of this new twist and 
forms the impression that he can sell old 
ideas to the film companies. Perhaps he 
does not wittingly attempt to market 
ancient themes, but at least he does not 
analyze his work to determine how much it 
offers that is new. 

The producers of photoplays naturally 
feel that if an old idea is to be revived and 
oTered to the public in a new form, they 
can do the writing themselves ; in fact, 
they can reconstruct the old theme to meet 
their particular requirements to better 
advantage than can the outsider, and. con- 
sequently, when buying subjects from con- 
tributing writers, they demand plays which 
are striking in their originality of theme 
and development. Thus, newcomers to the 
photoplaywriting field meet with repeated 
rejections until they familiarize themselves 
with the hundreds of plots which have been 
picturized. And today, the writers who 
have met with success in the past discover 
that the essential which results in sales, 
"something new," is extremely difficult to 
find. 

While searching for plot material, scores 
of authors have turned over the pages »of 
histories of all ages. Some have found in- 
spiration in the Bible, while others keep 
a carefully classified scrap-book of news- 
paper headlines. Many have taken the 
situations found in old books, plays, poems 
and songs out of copyright. The ingenious 
frequently are able to reverse the premises 
in current plays and stories. 



Again we find an old situation given a 
new twist by change of environment, and 
after doing service in that guise it is given 
an additional twist, thereby prolonging its 
usefulness. 

Therefore, while photoplaywriting al- 
ways has been a very serious proposition, it 
becomes more exacting each day because of 
the enormous utilization of screen material. 

Many writers have discovered that 
worthy plays of their authorship, given 
careful, artistic production, have failed to 
present the novelty which brought about 
the acceptance. And photoplay editors 
find to their dismay that plays which they 
accept at times present an undesirable sim- 
ilarity, despite the fact that the stories con- 
tained little in common. An explanation is 
found in the fact that photoplay narration 
itself has been following a certain fixed 
groove. 

A person possessing a trained, plotting 
mind, can. upon noting certain premises 
established in the opening scenes, forecast 
the denouement in the majority of photo- 
plays. Ninety-nine screen stories in a hun- 
dred are told in the same manner because 
writers and producers follow what they 
believe to be the only style of construction. 
In other words, the new twist given the 
story fails to make the play distinctive be- 
cause it is set forth in a proverbial se- 
quence. Naturally, no matter how the play 
is plotted we have the sequence of ( 1 ) 
introduction of characters and the estab- 
lishing of their relationship. (2) premises 
and interest. (3) incident. (4) denouement. 
(5) climax. But through the conventional 
introduction of characters and establishing 
of premises we frequently foresee the ulti- 
mate action. 

Suppose, however, that the situation 
which is commonly the denouement of the 

153 



154 



Photoplay Magazine 



average photoplay is made the introduc- 
tion. Then, of course, it is no longer the 
denouement. The real denouement will 
occur in its proper place. But we will have 
started with a unique premise which neces- 
sitates original treatment. 

While the analogy between the me- 
chanics of the fiction writer and those of 
the photoplaywright is difficult to draw, 
because of the varying methods, let us con- 
sider for a moment what the result would 
have been had all of the great authors of 
literature followed a common formula. 
All plots, apart from individual styles of 
expression, would be built along the same 
lines. De Maupassant would be criticized 
because he reminded us of Poe. and Poe 
would lie glaringly apparent in Balzac. 
True, the art of literature has come down 
through the ages, broadening, developing 
and presenting new styles. The photoplay 
is still a new aft. Producers, having many 
stories to tell, have been satisfied with a 
definite style of exposition, but this, appar- 
ently, is beginning to present a certain 
monotony. 

Obviously, then, the new twist in the 
photoplay is wider in its scope than the 
mere treatment of theme. No method of 
dramatic or literary expression has ever 
presented such varied resources. The photo- 
playwright is not limited by the single 
viewpoint of the short story writer. If the 
latter is artistic and convincing, he nar- 
rates everything as seen through the eyes 
of his central character. John Brown 
states that he will go to the station and 
see if the five o'clock train has arrived with 
his crate of strawberries. He finds them 
damaged and writes a letter of complaint. 
In the photoplay, the audience doubtless 
would have seen the strawberries placed in 
the express car. and later observe the ex- 
pressman roll a heavy trunk against the 
crate. John Brown would be shown, wait- 
ing in happy anticipation, and by actual 
visualization of the expressman's careless- 
ness, the audience would be prepared for 
Brown's righteous complaint. The photo- 
play shows in action what the fiction writer 
and stage dramatist must necessarily con- 
vey by description and dialogue, and as 
many viewpoints are taken as are neces- 
sary. 

The stage in its efforts to present novelty 
has taken a lesson from the photoplay, as 
attested by a recent dramatic success, which 



is a time-honored story offered in moving 
picture fashion. The second act deals with 
a period previous to that found in the first 
act, and the third takes up events which 
transpired before the action of both the 
first and the second acts. The result is a 
gripping dramatic story which has thrilled 
audiences for several hundred nights. The 
failure of the play, were the events pre- 
sented in chronological order, is apparent. 

The photoplaywright no longer hesi- 
tates to mystify the audience, if he can hold 
interest in the incidents which lead to the 
solving -of the mystery. He can begin his 
stories in the middle — say at the discovery 
of the crime, whereas he once thought it 
necessary to apprise the public of the 
identity of the criminal. The scope of the 
silent drama is so wide that it is the duty 
of the scenario writer to tell a new. or old, 
story in such a novel manner that the 
commonplace methods of narration fre- 
quently are discarded. It must be borne in 
mind that the patrons of the photoplay 
theatres are a highly intelligent body today, 
and many have forsaken the houses of the 
spoken drama because of the superior ap- 
peal of the artistic pictures. Those who 
have been devotees of photoplays since the 
origin of the new art are decidedly blase — 
and severe critics. 

When a photoplaywright determines to 
embody novelty in construction, as well as 
in theme, he, perhaps, is inclined to take 
sides with the critics who have claimed that 
technique is unnecessary. Here lies a pit- 
fall which must be avoided carefully. For 
years critics of the stage have written reams 
of reasons why technique is unnecessary ; 
why the commonly accepted standards of 
dramatic construction should be ignored, 
and dramatists have replied with equal ver- 
bosity, until we have become wearied of the 
argument. Each side has presented but 
half of the truth. The biggest dramatic 
plot ever conceived is utterly worthless if 
it is not handled with technical skill ; and 
technique is an idle instrument until it is 
employed in the presentation of a good dra- 
matic idea. 

The photoplaywright must consider con- 
sistencies and make his innovations logical. 
Let him disregard the common understand- 
ing of technique and the so-called prin- 
ciples of dramatic construction if he will. 
but his motive must not be a wilful ignor- 
ing of well-founded precepts. 



Photoplay Magazine 



155 



UESTI 



JL^Skl 



THIS Department Is open to questions of any 
reader of Photoplay Magazine, whether a 
subscriber or not. We are eager to serve you. but 
don't ask foolish questions : don't ask questions 
about religion or photoplay writing. Write on 
one side of your paper only ; put your name and 
address on each page : always sign your name, but 
give a title for use In the magazine. Your 
answers will appear in this department as soon 
as possible. Don't send communications to 
other Departments on the page you write your 
questions. Address your letters to "Questions 
and Answers. Photoplay Magazine, Chicago." 



A 



M. B. .1.. Guandview, Ala. — Photoplay Maga- 
zine's "Beauty and Brains Contest" affords the 
best chance for your friend to enter the moving 
pictures that lias appeared so far. Have her ful- 
lill the requirements and perhaps she will he for- 
tunate enough to gain recognition. The contest 
is entirely a matter of merit: the combination of 
a pleasing personality with intelligence which will 
guarantee forceful dramatic work. Roth Stone- 
house is the wife of Joseph Roach, one of Kssanay's 
Chicago scenario department. Bryant Washburn's 
wife is Mabel Forrest, who has appeared in quite 
a number of Essanny films, though not a regular 
member of the stock company. 



W. I. S.. Biienham. Tex. — An old question is 
doomed to the storehouse : the Fuller-Panzer ques- 
tion is about, to take the place of our old friend 
the Fuller-Moore inquiry, now that Matt Moore 
is with another Universal Company and Paul 
Panzer is to play opposite Mary Faller. However, 
we are always willing to answer. Lillian Drew is 
with Essanay's Chicago studio. 



J. Camilus. X. Y. — Alliert. Frank and Murdock 
of the patronymic "MacQuarrie" are brothers, and 
the name MacQuarrie looks distinctly Scotch to 
us, in black and white. 



L. T... CRDARHUBST, X. Y. — Blanche Sweet is in 
Hollywood, California, and not Xcw York; she says 
that California has claimed her and her big Fiat 
car permanently. Neither Mary Pickford nor Alice 
Joyce has any children. There are fifteen chapters 
in "The Goddess," Vitagraph's Governour Morris 
serial. 



P. D.. Xhw Orleans. — Elsie MeLeod and not 
Helen Holmes, is Rita, the telegraph operator in 
"A Fiend at the Throttle." one of Kalem B railroad 
pictures. Helen Holmes has recently left Kalem 
Company, but the "Hazards of Helen" are to be 
continued featuring Helen Gibson in the title role. 
Refer to the article by Karl K. Kitchen on page 138 
of the October PHOTOPLAY Magazine regarding 
players' salaries : this is exceptionally authoritative 
and probably the only correct compilation ever 
made. 



G. G. F.. Maywooo. III. — Rol>crt Walker plays 
lite role of Richard Sinalcton, the plantation over- 
seer : Wilmuth Merkyl the role of plantation owner : 
liegina Richards is the girl, and Susie, the slave 
girl, is Uary Kennedy, in Salem's "Wife for Wife." 
Very melodramatic and very picturesque in its old 
southern settings ; taken in Florida. 



F. McN„ Philadelphia, and I. D. H.. So. Nos- 
walk. Conn. — Old Bull Presby, Joan's big-hearted 
father, the rough and ready mining king in "The 
Plunderer" (Fox), is William Riley Hatch. Bill 
Farnum's partner is Harry Spingler. who, by the 
way, has recently joined the Universal forces. 
Joan, the pretty equestrienne, is Claire Whitney. 
In Vitagraph's "Chalice of Courage." XeichoM is 
William Duncan, and Enid is Myrtle Gonzales ; 
Armstrong is George Holt. In Famous Players' 
"Little Pal." a vehicle very lacking in Mary Pick- 
ford opportunity, Miss Pickford is cast as the 
stolid little Indian girl ; Grandon and his wife are 
George Anderson and Constance Johnson, while 
Black Brand is Joseph Manning. The Morosco 
Photoplays Company is the organization controlled 
by Oliver Morosco, an Interview with whom ap- 
peared in the May Photoplay Magazine. For 
many years a truly big figure in theatrical affairs, 
his entrance into screen drama was of vast portent. 
Regarding Mr. Bushman, did you read the Editor's 
opinion of his ability in October "Close-Ups?" 



G. of East Lynne must own one of the country 
constable's sources of income herself. She sug- 
gests that we print a series of pictures of the 
players in their automobiles, and we believe it is 
a mighty good idea. The photograph of Charles 
Chaplin and Edna Purviance in his car aroused 
wonderful enthusiasm among our readers. (The 
Garage Man says, "it can be put on without much 
trouble.") By the way. did von notice the reflec- 
tion of the California roadway in tie tail-light of 
Marguerite Snow's car, page :',3, October issue? 



B. L., DENVER. — We certainly trust that you re- 
ceive a reply from Mary Plc::ford and feel sure 
you will not have to wait long for it. Marguerite 
Clayton is wit'.i Kssanay at Xiles, California. She 
is a Salt Lake girl. 



B. McD.. Pecos. Tex. — Either the Mexican situa- 
tion isn't as bad as it is painted or it is so bad 
that B. McD. wants .in excuse to get away. "Now 
remember that picture of Grace Cunard, or I'll 
put on my gat and come look you up." But re- 
member this. Texan, when you see that picture it's 
liccause we like you and not because of that bad- 
man remark. 



L. R. D.. Jersey City. X. J. — Xo announcement 
has ever been made regarding the production of 
"My Strange Life," but the plans will undoubtedly 
be made public later. This was the play In which 
Mary Pickford won the title cole In a contest held 
by the Ladies' World. 



156 



Photoplay Magazine — Advertising Section 




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The famous trade mark of Win. Rogers 
& Son appears on each spoon. This means the 
finest spoon value obtainable. More than an 
ornament — they are designed for lasting service. 

National Film Star Spoons 

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Every Movie lover finds a delight in 
possessing them. There is a strong fascina- 
tion in their use. Send for one today. 

Perfect Satisfaction or Money Refunded 

We charge only 30 cents each for the spoons, 

because wc know that you will want to acquire the whole 
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our expense, and we will cheerfully refund your money. 

Fill Out the Coupon NOW! 



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1326 Broadway, NEW YORK, N. Y. 

Please send me the Film Star Spoons which I have checked 
below. 



..FRANCIS X. BUSHMAN 
ANITA STEWART 



MARY FULLER 
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The price of each spoon is 30c postpaid. I enclose. 
I may reinrn the spoon if not fully satisfied. 



E. K.. OirroNVii.i.E, Minn. 




N. M., Sandpsky. O. — The role of Wealth In 
"The Heart of a Fainted Woman." was taken by 
James O'Xcil : his daughter was Hetty Itiggs. In 
"Nearly a Lady," by Bosworth. Frederiea is Klsie 
.Tanis; Lord Cecil, Frank Elliot; Jaek Itawlins, 
Owen Moore : Mrs. Brooks. Myrtle Stedman ; Jim 
Brooks. Marry Ham and Blaine is Roberta Hick- 
man. Elsie Janis has recently purchased I'liilipse 
Manor, near Tarrytown, X. J., and says she shall 
call this home from now on. Pedro de Cordoba 
lias returned to the statue and is appearing in Los 
Angeles at present. Yes. Billle Burke has joined 
the Thos. II. Ince side of the Triangle corporation. 

II. K., Detroit. — In case you wish to write to 
the "'Beauty and Brains Contest Judges." address 
them in those terms in care of PHOTOPLAY Maga- 
zine, Chicago. Certainly, if you think you are 
"a doable" send us your picture at once. 



I'. F.. Couvai.lis, OitE. — Yes. those are genuine 
Mile Marsh pictures you saw. The Biograph made 
them when Miss Marsh was with that company 
and is now re-issuing them : that is. they were 
shown quite awhile ago, and this is a second pres- 
entation. It is interesting to note that the fact 
they were directed by 1>. W. Griffith is being 
prominently announced in the notices. Certain 
theatres are making the name Griffith the impor- 
tant part of their advertising instead of the play- 
ers' names. 



F. E. II., Xiles, MICH. — Hank Mann and Peggy 
?earce are playing with L-Ko in Los Angeles, 
riiat apparently daredevil stunt on the roof of a 

. 1 I i S j 1 '( > 1 . , I iv ■ . . r n < l • ...... I .. ■ nhon,> 4-li.h .if iio/.f «»nr- Ki\,llllt 



Pe 

Til... 

lpilildin; 

elevet 



luyuieiii i.\ uriM'ui'vu sluui on tize root ui a 

g twenty stories above the street was really 

,..t,v» double-photography. Lillian Peacock plays 

opposite Max Asher in the Joker Company" of Uni- 



versal. 



V. D.. ITeavener. Okla. — Mary Anderson. Mi- 
gnon Anderson and G. M. Anderson, are no relation 
to each other. 



E. D. L.. Biudgewater, Mass. — Violet Merse- 
reau's address is Universal Film Mfg. Co., 1000 
Broadway. New York City. She is playing with 
one of the I'niversal's eastern companies. Francis 
Ford and Grace Canard are with the 101 Bison 
brand of Universal films. 



L. R. M.. Jonesboro. Ark. — Alma, the Lorelei, 
in Vitagraph's "Lorelei Madonna." is Alma Heu- 
hen. She is the girl who furnishes the inspiration 
for the painting of the linal picture that was to 
adorn the walls of the mission, after the painter 
had searched the world over for a subject worthy 
of his brush. 



M. W„ Pai.merston No., N. Z. — Mavis, in Uni- 
versalis "Mavis of the Glen." was Ella Hall, and 
Graham, Robert Leonard. Murdoek MacQuarrie is 
with Universal. 



Address. . 



M. S.. Tom's Uiver, X. J. — 'In 'Carmen,' as pro- 
duced by Lasky, who will play Don .lose and the 
Toreador ? 1 am waiting anxiously to see the screen 
production as 'Carmen' is my favorite opera." On 
account of the general interest in this screen ver- 
sion of tills opera we shall give you the complete 
cast: Carmen is portrayed by Geraldine Farrar ; 
other actors and their characters : Don Jose, 
Wallace Itcid : 1'tistia, the tavern keeper and smug- 
gler, Horace B. Carpenter : Escamillo, the toreador, 
Pedro de Cordoba ; Morales, tin officer. William 
Elmer: Frasquitu, Jennie Maepherson ; Gareia, 
Milton Brown. The scenario of "Carmen" was 
adapted by William C. De Mille from the story by 
Prosper Merimee. and the production was under 
the supervision of Cecil B. Dc Mille. Wilfred Buck- 
land was Art Director, and the photographic ex- 
cellence may be attributed to the skillful work of 
Alvin Wycoff. This is entirely a Los Angeles and 
Hollywood production by the Lasky company. 



Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



157 



II. S. P., Watkktowx, H. Y. — We wish that 
readers would specify the players in whom they 
are interested, instead of asking for complete 
easts. Evelyn, in "The Accomplice," is Marin 
Sais. Stronn is Arthur Shirley, and the caharet 
singer is Ollie Kirk by. The hushand. the wife, 
the Doctor and the millionaire in "The Longer 
Voyage" are John Lorenze. Warda Howard, Thos. 
Commerfoid and Sydney Ainsworth. 



C. S„ Tiiexton. X. J., certainly lias a horrible 
mental picture of the Answer Man. He says "I 
imagine he is a wiry little man. with shining bald 
head, bristling mustache, neatly trimmed, thin and 
closely knit eyebrows of alnrat the color of his 
mustache, large tortoise-shell goggles, framing 
small light gray eyes. lie's a cold blooded man, I 
know." You may have the right number, but 
you're got the wrong exchange. 

M. E. It, Kecixa, Sask. — The Xorth American 
Film Corporation is the distributer of "The Dia- 
mond From the Sky." which was produced by the 
American Film Corporation. They are distinct 
companies, lint the stock of each is largely owned 
by tlie same persons. 



E. i>. F.. Clinton Hill, x. .t. — The St. John 

brothers, the Iter. .John and Frank, In "As Ye 
Sow" (World), are Douglas MacLean and Walter 
Fisher. John Mines takes the part of Luther 
Luillam. 



F. X. O., Jk.. VALPARAISO, 1MB. — Mary Fuller is 
not only in "The Phantom Cracksman." but she 
is the Phantom Cracksman herself, and the gentle- 
man whose house she twice robbed is Charles Ogle. 



E. K. D.. WASHINGTON, D. C. wrote us a day or 
two ago that "I don't see any changes that should 
lie made in Photoplay Magazine, hut I would like 
to have more pictures of Beverly Payne and Mar 
guerite Clark, though, of course, I don't mean for 
you to stop Mary Pickford or Anita Stewart." 
Which. E. U. D., we call the fair-play spirit. 

X. W.. Sax Axtoxio. Tex. — Hubert Sterling in 
"The Vampire" ( Metro i is played by Vernon Steele. 
Do not confuse this play with Fox's Thcda Para 
picture, "A Fool There Was," as Olga l'etroya 
leads in the Metro. Little Hariri in Famous Play- 
ers' "Eternal City." Pauline Frederick lending, is 
Arthur Oppcnheini. 



F. J. S„ C.viti.ETOX Place. Oxt. Your Kerrigan 
questions have licon answered elsewhere and we 
ask you to refer to them. Thanks for the "still." 



L. C., Dexvei: — Orrin Johnson was born in 
Louisville. Ky., and went on the lioards in 1SS7. 
His legitimate experience lias been exceedingly 
broad, among his successes being the leading roles 

in "Pen llur. flic Heart of Maryland.' "The 

Shepherd King. l'be Man of the Hour." and. 

with Marie Doro. in "The Richest Girl'.' His first 
photoplay work was in "Satan Sanderson," a 
Kolfe. 



A. E. D.. OvEunitiiciK. Pa. — Peggy Pierce is the 
girl in "A Doomed Hero," Universal : Xeva (ierbcr. 
the girl in American's "Applied Romance," and in 
Lasky's "Puppet Crown." the Duohees Stitria is 
Cleo IJidgely, and the Oountess Llxa, Marjorie Daw. 



JACKSON, Miss., and II. O.. Mixxe.vpoi.is — In 
Kalem's "Maker of Dreams." I.urna, both as a girl 
and an aged woman is portrayed by Alice Hollister. 
Did you read the "Hero Brothers' story on page OS 
of the August Issue? It answers all your questions. 
The girl detective in Kalem's "Secret Well" is 
Marin Sais. 



M. I., Jamaica. X. Y. — Lionel Parrymore. play- 
ing one of the principal roles in the "Exploits of 
Elaine." is a brother of liotb John and Ethel Parry 
more, and a nephew of John Drew. Prinee Karl, 
in Edison's "Peasant Princess." was Thomas Mat - 
Evoy. 



G. W. X.. P.kooki.vx — Tom Moore and Alice 
Joyce are the only players cast in Kalem's "Busl- 
ness Buccaneer;" in Lilian's "Day of Havoc." Ethel 
Clayton and Thurston Hall have the leading roles. 
Hoy L. McCardell is the author of Vitagraph's 
series of Jarr Family plays, and Alice Bradley 
wrote "The Governor's Lady" (Lasky). 



I / 



Oily sldmi amud 
shinny nio§e 

Cffcw icr coccect the/TV 

That bug-bear of so many — an oily 
skin and shiny nose has various con- 
tributory causes. Whatever the cause 
in your case, proper external treatment 
will relieve your skin of this embar- 
rassing condition. 

Tonight — 

Begin tonight the following Wood- 
bury treatment. You will feel the 
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In Canada, address The Andrew Jergens Co. 
Ltd., 2101 Sherbrooke Street, Perth. Ontario. 



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158 



Photoplay Magazine — Advertising Section 



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only a small percentage of the disappointed 
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350 North Clark St., Chicago, 111. 



(Continued from page 138) 

She seemed wholly beneath his spell. And 
this was what he had waited for. 

At last with a little shock, she noted the 
lengthening shadows and obliqueness of the 
sun's rays as they slanted through the pine 
branches, and roused herself. 

"Goodness, I had no idea it was so late!" 
she said, astonished. "I suppose wc must 
start back now. It's a long paddle up- 
stream." 

The man glanced at her swiftly and a 
look of cunning resolution hardened his 
face. Then with a sudden laugh he sprang 
to his feet. 

"Then you must sit here," he com- 
manded, "and let me carry the things down 
to the canoe. The paddle up will be 
enough, without your doing any of this." 

Ordinarily she would have laughed him 
to scorn, but now she relaxed, finding a 
sweet thrill in obedience. 

"You see," she said, lazily, "we had too 
much. You shouldn't have brought any- 
thing." 

"You're right," he admitted. He gath- 
ered an armful of supplies and started 
briskly towards the landing place leaving 
her sitting against the tree. Halfway to 
the river he glanced swiftly around and 
suddenly dropped his burden in a nearby 
thicket. "We'll need you yet," he mut- 
tered as he hurried on. 

He found the red canoe tied to the tree 
as he had left it, and with another furtive 
look behind him, commenced to work 
swiftly at the knot. But the rope had been 
dragging in the water that morning and 
now the constant tugging of the current 
had drawn it hard and tight. 

Desperately he worked, cursing under his 
breath, but before he could loosen it he 
beard a stirring in the brush in the direc- 
tion of the camp, and the next moment, 
June's clear, happy voice: 

"I've disobeyed you, Jack! I just 
couldn't sit there and do nothing, so I'm 
bringing things too." 

With an oath he stopped, and for the 
fraction of a second stood stock still. This 
was the critical instant. Then with a 
swift movement he whipped out his knife, 
cut the straining painter, and giving the 



Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



159 



canoe a strong shove, saw it veer into the 
current. The trees, he knew, would screen 
its passage from her. 

Then he cut the painter that still re- 
mained ahout the tree and threw it into a 
thicket. The next instant he had sprung 
back along the trail to intercept her. And 
as he did so he thought with grim satis- 
faction of the deep, flowing water that 
hemmed the island in. 

Night would come soon and there was no 
•>vay of escape. 

(To be continued) 



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160 



Photoplay Magazine — Advertising Section 



G. A. N\, FitKsxo, Cal. in "The island of Re- 
generation" Edith Storey's astonishing hair is 
merely part of the story, a scenic effect : in other 
words, a wis. You might address Forrest Stanley 
at the Los Angeles offices of the Morosco company ; 
he has permanently abandoned the stage for the 
screen. 



F. J. N., Bhooki.vx. Full information regarding 
stocks of every character and description, as well 
as the stocks themselves, whether of moving pic- 
ture companies, theatres or whatever sort they 
may be, may be procured from any of the well 
known stocks and bonds brokers, or from your 
own bank, through its bond department. Probably 
the most satisfactory course is to consult the bond 
department of the bank with which you do business. 



II. F., Beaumont, Tex. George Larkin is with 
the Selig company at Los Angeles, having joined 
their forces several months ago. In Eclairs "Lure 
of the West" Mrs. Morgan was Sabra DeShon : 
Janie, Edna liaison: Jim. Stanley Walpole; and 
Budd, Norbert A. Myles. A two-reeler of last 
February. 



H. McM.. Buffalo. Tear! White, during her 
long sojourn with the photoplays has played in a 
great many pictures, but in tlie last year or so her 
efforts have been confined to the various serials. 
She and Arnold Daly are no longer in the same 
company, as Mr. Daly heads the Arnold Daly 
Players at the Pathe Jersey City studio. The plays 
they are appearing in, however, are released by 
Pathe. 



A. M. R., Davexfokt. Ia.. E. Y.. Oak Paiik. III.. 
and B. B., COLUMBUS, O. Marguerita Fischer may 
be addressed in care of the American Film Manu- 
facturing Co.. Santa Barbara, Cal.. and Dorothy 
Gish and Lillian Gish at the Triangle studio. 450(1 
Sunset Boulevard. Hollywood, Cal. Sherman Bain- 
bridge may be addressed at Universal City. Cal. 



F. II., Axx Aiinon. Mich. Tom Forman. of the 
Lasky company, is not married. "Out of Dark- 
ness is the most recent Lasky release in which 
Tom Forman plays. In this lilm he is Tom Jame- 
son, with Charlotte Walker as Helen Scott, and 
Thomas Meighan as Harvey Brooks. We shall bear 
the interview in mind. Harold Loekwood Is at the 
present time with the American Film Manufactur- 
ing Co. in Santa Barbara, and May Allison is play- 
ing opposite him. • 



Sligj&inin-- 

OR 



The Problem 



How Many 




B. II. A., Glovkhsvili.e, X. Y. "The Morals of 
Marcus," by the Famous Players, featured Marie 
Doro as Carlotta. the girl who caused all the dis- 
turbance, and Eugene Ormonde as Marcus. Ida 
Darling was the mother of Marcus. Julian 
L'Estrangc was Paaquale, Russell Bassett was 
Hamdi, Frank Andrew was Mustapha. and Welling- 
ton 1'layter was the Vice-Consul. You will undoubt- 
edly see Miss Doro very soon in "The White Pearl." 



R. J., Beaumont, Tex. His full name is Jack 
Warren Kerrigan, though he is often mentioned 
as J. Warren Kerrigan and as Jack Kerrigan. Mr, 
Kerrigan returned recently from Lake Tahoe, 
Nevada, where he and his company had been mak- 
ing pictures which required mountain scenery. 



W. T. S.. Wdllixgtox. N. J. Cleo Madison, 
whose picture appeared in the October Art Section, 
was Judith Trine in "The Trey o' Hearts." 



G. S., FRESNO, Cal. You might write the 
Famous Players in regard to that picture of Mary 
Pickford. Even though it is from the film, they 
might be able to supply it to you. 



A. C„ Palo Alto. Cal. Muriel Worth in World's 
"When It Strikes Home" is Muriel Ostriche : 
Cherrv Malotte in Selig's "Spoilers" was Katblyn 
Williams. 




Photoplay Magazine — Advertising Section 



161 



L. G., Hagkbstowx. >1p.. and B. P., Nbw YOBK 
— Anita Stewart and Karle Williams were the 
principal players in "The Wood Violet." which was 
one of Miss Stewart's first leads. Edith Storev has 
a brother Richard. In ".My Official Wife," a Vita- 
irraph directed by James Young, Helen Marie, the 
title role, is Clara Kimball Young: Kacha is Earle 
Williams : Lennox is Harry T. Morey ; Lennox's 
wife Is Ifose Tapley : t' e Chief of Ituxiiian Police 
is L. Kogers Lytton : Marguerite, Lennox's daugh- 
ter. Is .Mary Anderson : her husband is Arthur 
Cozlne : Eugenie, the spy. is Eulalie Jensen ; Con- 
xtaiitinr is Charles Wellcslev ; Ohm, his wife. Lou- 
ise Iteaudet, and their child is Helen Connelly. 



C. H. A.. West IIouoken, N. J., and L-. H., 
N. Y. C. — The Elaine pictures, aside from the 
studio scenes, wore taken on the ISrowning estate 
at Temple. X. Y., at Jersey City. X. J., and on 
Lake Cayuga, at Ithaca, X'. Y'. The purchasing 
policy of l'atbe is being continued as heretofore, 
the studios releasing through the Pa the Exchange 
being: Halboa, Long Bench. Calif.; Wharton. Inc.. 
Ithaca. X. Y. : Uolin Film Co., Los Angeles. Calif.: 
Mittenthal Film Co., Y'onkers, X. Y". The Pnthe 
Brothers, however, have their own studios at 
Jersey City, the Arnold Daly players, the company 
under the direction of Donald Mackenzie, and the 
company under George Fitzniauriee. while in Xew 
York City is tie Edward Jose Company. 

P. D., St. Cloi-d, Minx. — Grace Cunard was 
torn in Fiance, but she is an American. She is 
of French descent, however, and her parents were 
visiting in France at the time of her birth. Wal- 
lace Kerrigan, the brother of Jack Kerrigan, is the 
superintendent at Universal City still — where they 
get the reels, perhaps. 

E. D. X.. PHBLFS, X. Y.. and M. E. P., Kxichtk- 
towx. IKK. — "The Trey o' Hearts" and "Lucille 
Love" were both California pictures, the former 
having a Universal City, the latter a Hollywood 
setting. 

Makez axd B. L.. Cobalt. Oxt. — The, Blograph 
version of "Enoch Arden" was produced by a com- 
pany which included Wilfred Lucas as Enoch 
Arden, Linda Arvidson. the wife: Florence La- 
Badie and ltobert Ilarron. the children: Alfred 
Paget, the other man, and W. Chrystie Miller as 
the old gentleman. It was released several years 
ago. and will probably be included among" the 
Blograph reissues. There are three players casl 
in "The Heart of a Bandit." also Blograph: Harry 
Carey. Charles ft. West and Violet Ueid take the 
roles of the bandit, the Indian and the rancher's 
wife. 

E. C. St. Johx, X. B.— Little Adele de Garde, 
of the Vitagraph company, is about thirteen years 
of age. The interviews will appear shortly. 

K. F. I!.. XIn.WAi'KEiv — I'nelss a writer is experi- 
enced in scenario work it is very difficult to de- 
termine the division of a play into reels. It is 
not amiss to give your estimate of the numlier : 
hut. after all, so much depends upon the director's 
ideas and methods that it is practically useless to 
do so. Lillian Brown Leighton is with Selig at 
Edeudale. 

J. E. II., Dai.tox. Ga. — The principal Universal 
producing plant is Universal city, but they have 
other studios and companies in the East, and we 
give you their addresses accordingly. Universal 
is in reality a distributing company, and the 
various brand names are the studio companies 
which produce the pictures. 



II. B., Salkm, 0„ and F. D. Ci.MAituox. Kax.— 
The cast of "The Perils of Pauline" (Pathe) is as 
follows : Pauline Marvin — Pearl White ; Harry 
Marvin — Crane Wilbur; Owens — Paul Panzer": 
Hicks — Francis Carlsyle ; Gypsy leader — Clifford 
Bruce Carlsyle: and Pauline's friend Lucille, is 
Eleanor Woodruff. Innocent Inez, in the "Exploits 
of Elaine," is Miss Gazelle Marche. 



A. S.. Portland, Ore. — The leads in "The Dollar 
Mark" ( World i are taken by Robert Warwick and 
Barbara Tennant. as James Gresham and Alice 
Chandler, the sister of Valance Chandler (Stanley 
Walpole). 

L. K.. CHICAGO, — There is no special significance 
in the name •■•'.•nr.v Killick" in "The Builder of 
Bridges" (World). 



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When you write to advertisers please mention PHOTOPLAY MAGAZlxi;. 



162 



Photoplay Magazine — Advertising Section 



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E. M. T.. Buffalo. — Tyrone Power is playing 
with Sells; under a contract which is very far from 
concluded, and there is no reason to suppose lie will 
join another company. 3Ianche Sweet is one of 
the most unemotional actresses on the sunlit 
Stage, but the public holds her In great favor in 
spite of that fact, or perhaps, In her case, because 
of it. 



J., Minneapolis. — The "Confessions of a Star." 
as stated in the story, were made in strict con- 
fidence, and it would never do to disclose the 
identity of the actress in question. Either the 
story or the player's name must be kept secret 
and the story is already in your possession. 



G. C. II.. Davenport, Ia. — The cast of "The 
Governor's Lady" (Lasky) included James Xeili 
in the role of Daniel slade, Edith Wynne Mathison 
as l/ai'.v Made, Tom Forman as Robert Hayes, 
Theodore Roberts as Senator Strickland, and May 
Allison as Katherine Strickland, The Famous 
Players used "Greystone," on the L'ntermeycr 
estate, at Yonkers. X. Y.. as the setting for "Jim. 
the I'enman." The willing co-operation of the 
owners of several noted mansions and country 
estates has added greatly to the artistic side of 
many recent films, and they are certainly to be 
commended in opening their homes to the public 
through the photoplays. 



W. A. V.. WEST Oarrou.ton. O. — .Tames Neili 
takes the leading role of Richard Jenieon, in "The 
Circus Man" t Lasky I ; bis son is Hubert White- 
head: his grandson is Jode Mullally : Billy Elmer 
is the negro lawyer : Tims. Bra&OOk is Theodore 
Roberts; Mary BradocJc is Mabel Van Buren, and 
Christine is Florence Dagmar. Ernie and Dick 
Crank and Co?.. Qrand are impersonated by Ray- 
mond Matton, Howard Hickman and Fred Mon- 
tague. 



M. n.. Dallas. Tfflt. — While Mary Plckford is 
a brunetfe, she is not dark and might easily be 
mistaken for a blonde on the screen. Her coloring 
is medium. Yale Boss may Ih; addressed at the 
Edison studio. 



P. is.. Hopkins, Minn. — The Greens, the family 

who live in the flat below tiie Wrights, in "Scandal." 
are Grace Johnson and Jim Mason. They are the 
ones who started all the trouble that entangle the 
WrigMg. One may be accused of far worse thing:; 
than being an Irishman, so you have our permis- 
sion to think the Answer Man comes from Tip- 
perary if you wish. 



A. B. ('., HCTCHIN80N, Kan. — "An accurate de- 
scription of Jack Warren Kerrigan." An un- 
married young man. twenty-six years of age — the 
first Hem, of interest. Six feet one. a bnnette. 
with brown eyes and black lair. Said to +« of a 
dashing, fearless nature, but kind and gentle — 
his sweetheart is bis mother, but— ! 

Pronounce the i's 
is though spelled 
! last syllable. 



II. L. I!.. Dansvii.i.k. N. Y.- 
short in Mimi, and Yvonne 
Ee-vahn, the accent being in th< 

M. C, Nbw Y'ork City. — "The Disaster," "The 
Hour of Disaster." "The Brute in the Jug," and 
"The Valley of Lost Hope" have all been completed 
by the Lubin Company, but no release dates have 
been announced <o far. They were directed by 
Romalne l-'ieiding. "Neal of the Navy" is to follow 
the Elaine series, and, of course, in many places 
where first-run films are not always used, the 
Blaine pictures will still be booked after "Xeal of 
the Navy" has been released. The player, sitting 
at the right in the picture on page 129 of August 
Photoplax Magazine, is Bernard Sigel. 



.T. G.. Xi:w Br.iu'oitn. Mass.. axi> .T. D.. Moxox. 
Ixi>. — The complete casi of Pathe's "Quality of 
Forgiveness" is as follows : .luhn and Paul west, 
played by Jack Tutt and Hoy Watson : Ethel. Mar- 
garet Nichols; Caniillc, Joyce Moore: David Brad- 
leu, Gordon 'ackvilie ; Elian Grant, Henry Stanley. 



A. E. r., Carrol, Ia., and R. L. t., Florence. 

Colo. — Ethel Fleming is Naida in "Tricks of Fate," 
a play released through l'athe. In the "Exploits 
of Elaine." the canine roles are played most im- 
pressively by the dog belonging to II. S. Gatcbell — • 
"and some have greatness forced noon them." 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



163 



G. L. m.. Lincoln, Neb. — Bead tin> answer to 

"Atlantic City Friends." just above, for wo know 
it will interest you, too. Sorry you misunderstood 
us. as it is not necessary that letters be type- 
written ; we referred merely to manuscripts and 
scenarios, and want you to feel free to write to us 
any way you wish. Yes, Harold Lockwood was 
horn in 1880. He has recently appeared in "The 
Lure of the Mask," released in May, and "The Sec- 
retary of Frivolous Affairs," released in July, and 
"The Great Question." mentioned al>ove. Elsie 
Jane Wilson plays opposite him in the first and 
May Allison in the second. You will have to ad- 
dress Owen Moore and lind out for yourself — he 
lias licon signed by the D. \V. Griffith company of 
the Triangle organization. Address Lois Meredith, 
in care of Lasky's New York office. 



N. S.. Lairexs. Ia. — Crane Wilbur and Tearl 
White have not been playing opposite for a con- 
siderable time ; Miss White is at the Wharton 
studio, at Ithaca, N. Y., and Crane Wilbur has 
recently joined the David Horsley forces in Cali- 
fornia. "The Perils of Pauline" films were prac- 
tically all studio pictures made by the Eclectic 
company and released through 1'athe. 

M. S., New York. — "The Assayer of Lone Gap," 
a one-reel American film, released August 1.8th, 
tells the story of a tenderfoot who was terribly 
gun-shy until a crisis called for action on his part: 
a fight makes a man of him. ttelle is Vivian Itich 
and Mrs. Ditgun is Louise Lester. 



B. G. S., SrRixGFiEt.D. Mass. — Tyrone Tower is 
the Mr. Stockton of "Aristocracy." and the two 
girls. Diana and Virginia, are Marguerite Skirvin 
and Edna Mayo. "Aristocracy" Is the Famous 
Players' production of the Bronson Howard play 
and was presented to the public in November of 
last year. 



B. O. S.. Columbus. O. — Winifred Kingston was 
the girl on the cover of the January Photoplay 
Magazine, and an interview with her accompanied 
tlie cover picture, of course. A copy will be for- 
warded you on receipt of IS cents. 

M. G.. BlNOHAMTON, N. Y. — William Hart, 
Bessie Iiarrlscnle. Kalbryn Kaelred, II. B. Warner, 
Dustin Karnum. Henry Woodruff. House Peters, 
Billie Burke, and William Desmond are some of 
the players who are playing with I lie Thomas H. 
Ince company, of Triangle. "The Coward" is the 
first of the Ince productions on the Triangle pro- 
gram. 



A. E. W., Melbourne. — The Frederick Graves, 
in whom you are so interested, of "Tess of the 
Storm Country," a Famous Players film, is Harold 
I<ock\vood. He is now with the American Film 
Manufacturing Company, in Santa Barbara, and 
you might write to him there. Yes. indeed. Wally 
Hehl is married, his wife being Dorothy Davenport. 
Elsewhere we have mentioned his part in "Car- 
men." 



C. H., Piqua. O. — "Her Triumph" (Famous 
Players) was filmed in France and in it Gaby 
Deslys and Harry 1'ilcer took the leading roles. 



S. D. G.. Havre. Moxt. — Arnold Daly and Mar- 
guerite Skirvin. as John Armitage and Shirley 
Vlaihornc, were the principal players in "The Port 
of Missing Men." produced by the Famous Players. 
The Emperor was Frederick Bock and the Arch- 
duke, Augustus Balfour; Frederick Augustus is 
Edward Mackay. Miss Skirvin is now playing 
Ann Anderson in Edgar Selwyn's melodramatic 
comedy, "Boiling Stones," at the Harris theatre in 
New Y'ork. 



E. L. H., Kenwood Park. Md. — We are unable 
to give you any further information in regard to 
the Masko Film Company. 



M. K. McK.. Fenton. Mich. — The Artone Film 
Company has a studio in Detroit. Mich., and is 
probably the nearest one to your city. 

W. H. M.. Sr-RiXGFiEi.D. Mass. — At Medford. 
Mass.. is located the studio of the Humanology 
Film Company, and at Providence, R. L, is the 
Eastern Film Corporation. 




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164 



Photoplay Magazine 



JT. C New London, Conn. — You probably refer 
to llortense, the maid. In "Chimmie Fndden," anil 
the player is Camillc Astor: Victor Moore Is Chim- 
mie, of course. In "Kindling," also a Lasky play. 
Sohultz is Thomas Meighan, the crook is Raymond 
Hatton and the detective is Billy Elmer. Charlotte 
Walker is lfrs. Svhultz and Lillian Langdon and 
Florence Dagmar are, respectively, the owner of 
the tenements and her daughter. The young Doc- 
tor is Tom Forman. In "The Clue." Christine is 
Blanche Sweet and her lover is Edward Mackay. 
Xooi, the Jap Secret Service man, who dies after 
the explosion in the laboratory, is Scssue 
Hayakawa. Governor lleekman. in "The Running 
Fight," is Thurlow Bergen. Evii, in Bosworth's 
"Wild Olive." is Mary Reubens. "The Running 
Fight" is released on the Paramount programme, 
but is not a production of Paramount itself, but a 
purchase by them from some other company. Para- 
mount is strictly a distributing company. 



D. B., rATCHOGCB, N. Y., and E. R. N. Boston. — 
One peculiarity of the moving pictures is the 
theatregoer's inability to determine whether a 
player is a blonde or a brunette. Makeup plays a 
part, of course, but this does not wholly account 
for it. Edith Storey is a brunette. 



V. II., Daytona. Ft.A. — To make up a list of the 
plays in which Florence Iji Badie has appeared 
would be rather out of the question, as she has 
played many parts in many productions. What 
special ones do you refer to? 



E. M. B., Green Bay, Wis.— Tom Mix and Goldie 
Colwell take the leading parts In "Why the Sheriff 
Is a Bachelor." a Selig play released last fall. 
Louise Vale. Edward Cecil and Kenneth Daven- 
port take the important roles in "The Maid of the 
Mountains," a Biograph. 



B. S. L., Sherman. Tkx. — Pat O'Malley takes the 
part of Roger Sterrett in Edison's four part drama. 
"On Dangerous Paths." We have no idea as to 
whether he would answer letters, but you might 
address him at the Edison studio, in New York. 



A. C. F., Frankfort. Ky. — Harry Benham has 
joined the Universal and it is said he is to play 
opposite Violet Mersercau. The first play in which 
he will appear will be "The Man Inside." though 
Miss Mersercau does not have a part in this pic- 
ture. 



J. W. I*., JoPLix. Mo. — We appreciate your kind 
words and trust that Photoplay Magazine will 
continue as interesting to you as heretofore. With 
Clara Kimball Young in "Hearts in Exile" ( World 1. 
Claude Flemming is the wealthy aristocrat. Serye 
Palma, and Vernon Steele portrays the poor stu- 
dent. Peter Pavloff. The exteriors were taken in 
the Adirondack mountains. 



P. M., SOUTH Bend, I.nh. — In "The Governor's 
Lady," Daniel Blade is James' Ncill : in "The 
Clcincnceau Case." Pierre Clemcnceaii is William 
IE Shay : in "The Morals of Marcus." jlarciis is 
Eugene Ormonde : in "The Goose Girl." the King 
is Monroe Salisbury : in "The Reward." Dan Can- 
leu is Arthur Maude : in "The Warrens of Vir- 
ginia," the General is James Neill : in "The County 
Chairman." the Hon. Jim llaeker is Maclyn Ar- 
buckle and Lucy ltiyby is Daisy Robinson. Emiuett 
Corrigan is the star of "Greater Love Hath No 
Man,'' Charlotte Walker of "Kindling." Bessie 
Harriseale of "The Mating," and Mvrtle Stedman of 
"The Wild Olive." You were loaded witli ques- 
tions, but come again any time: this department is 
as much e ulnribim iinum as a certain neutral 
nation we might mention. 



G. O. 7... Hartford. Conn. — Olga Petrovn who 
was the star of "The Vampire" and "The Heart of 
•1 Painted Woman." may be addressed in care of 
Metro at their New York office. We cannot tell 
you regarding royal personages in motion pictures : 
that's a great question for an American to ask. 

E. K. R.. Oakland. Calif. — We suggest that you 
write to Anita Stewart, in care of Vitagraph's 
Brooklyn office, and have that momentous ques- 
tion determined once and for all — she might, you 
know. Emily Stevens was the star of ".Cora." and 
the title role of "Cabiria" was taken bv Marcellina 
liianco. We refuse to be dragged into" anv discus- 
sion regarding the method Marv Pickford uses on 
her curls — it would be sacrilege for us to trifle 
with such a subject ! 



C. F. B.. Newark. X. J. — Charles Chaplin was 
on the road in vaudeville for a long time l>efore en- 
gaging in film work with Keystone, but we do not 
have bis routings. However, he played extensively 
in the North and West. 



M. K. M.. Oil City, and I. A. S., Lexington, 
Ky. — Bessie Barriscale's photograph graced the 
Art Section of the June issue of Photoplay Maga 
zine and there is a surprise in store for her friends 
in one of the next two or three issues. She is Mrs. 
Howard Hickman, as we have remarked before, 
and she pronounces the last syllable of "Bar- 
riscale" as though it were spelled "kale." She is 
a featured personage on the Ince side of Triangle. 

E. B„ Pasadena. Calif. — Komic's "Bill" Series, 
which, on account of the individual play titles, 
might well be called the "Ethel series." features 
Fay Tincher as Ethel. In about the first fifteen of 
the series Hill is Tammany Young, while in the 
later ones Bobby Feuhrcr takes that part. 

J. W. II.. Kansas City. — You refer to Tom 
Forman. who played the part of Lieut. Von Hitter 
in "The Puppet Crown." with Ina Claire and 
Carlyle Blackwell. (A Lasky play. 1 Write when- 
ever you wish : there is no charge of any sort. 

H. If.. New Straitsvii.le, O. — Address Antonio 
Moreno in care of Vitagraph's Brooklyn office. 



B. A.. Jersey City. N. J. — Kindly refer to the 
cast of "Tile Link That Binds," on page 103 of 
the September issue. 



A. C. G.. Gai.lipoi.is. O. — Ton refer to Antonio 
Novelli. who took leading roles In "Julius Ciesar" 
and "Quo Vadis." Both these plays were pro- 
duced in Italy by the Itala Company. Robert 
Warwick's work In the World Films Is well worthy 
of your appreciation and there will be much of 
interest concerning him In the next few Issues. 
You saw his portrait in October Photoplay ? 



C. G. D.. Springfield, Mass. — Viola Dana plays 
the part of Ruth Fenton- in "The Stoning" (Edi- 
son), and Helen Strickland and Robert Cbnness 
are her mother and the minister. This is a very 
strong play, dealing with one of life's most deli- 
cately difficulty problems. 

L. T. D. II.. Billings, Mont. — liutl BIohhohi, in 
the plav of the same title, is Helen Badgely. but 
it is Marie Eline and not Helen who is in vaude- 
ville. 



J. W.. Hamilton. Ont. — Alfred Vosburgh is with 
tile western Vitagraph company, in Los Angeles. 
He Is directing many of their plays at the present 
time. 



M. E.. Heringtox. Kan. — There is no truth in 
the report that Charles Chaplin has Been the victim 
of an accident, nor has he injured anyone else. 
Richard Traver's wife is not a professional, and 
we arc unable to give you her name. 



M. S.. Ei.i.wood. Penna. — Photoplay Magazine 
has published the Art Gallery of players ever since 
the magazine first appeared, but we can supply 
back nnmliers in regular sequence from April of 
this year only. Marguerite Clayton Is a blonde 
and was horn in Salt Lake In 1802 : she plays oppo- 
site Broncho Billy in those western Alms. 

L. E. P., Minneapolis — Eben, Yirian and Jlrnee 
(Irahiim, In "The Floating Death," are Richard 
Stanton. Enid Markey and Lewis J. Cody, and 
Lathrop is J. P. Lockney. Mercu, in "Mercy on a 
Crutch" (Tliauhouserl. is Helen Fulton: the 
Sheriff and his wife are John Lehnberg and Carey 
I.. Hastings, and their daughter is Helen Badgley. 
"And Beatrix Michelcna on the cover :" will see 
what we can do. 



II. II., Sydney. X. S. W. — We suggest that you 
write to Photoplay Magazine's advertisers re- 
garding photographs of players, but if you are 
unable to secure them in this way. you might 
write the players personally or to their companies. 

ATLANTIC City Friends. — We shall give you an 
interview with Harold I.ockwood very soon. One 
of his latest plays is "The Great Ijuestion." a three- 
reel American which was released about the middle 
of September on the Mutual program. 



Photoplay Magazine — Advertising Section 



165 



I. >.*., Muntci-aiii, N. 3. — Anita's Stewart's name 
is in fact Stewart. You misunderstood the re- 
mark in "Anita : Star-in-law," for it says of her 
sister, "the lens lured Lucy, and shortly after 
becoming Mrs. luce she became Lucile Lee, movie 
heroinc-in- waiting to husband Ralph." Lee was 
merely her sister's screen name. "Playing oppo- 
site" is a very indefinite term and we suggest that 
in tile future you mention some characteristic of 
the role played in asking about a player. Chester 
Harnett is probably the player you refer to, in 
"Marrying Money"' ( World i. as he was the penni- 
less young man. with whom Clara Kimball Young 
fell in love in that play. 



II. S., Cincinnati, and II. T., Minnbai-olis — 
"In the Valley" is a Thanhouser one-reelcr. Paul- 
ine and her mother are Lorraine Iluling and Inda 
Palmer ; M rn. (Jrosvenor, the society lady, and 
Wexterman, the factory owner, are Mary Elizabeth 
Forbes and Morgan Jones. Morris Foster is the 
son of the gunmaker in Thanhouser's "Maker of 
<iuns." 



G. T. G., MONTUEAL, AND E. B., CORTLAND, N. Y. 

- Jerome, in Selig's "Ebb Tide," Is Wheeler Oak- 
inan. Violet Mersereau is eighteen. Henry Wal- 
thal is the son of mature years, In "Temper," but 
the lwy is Sidney early le. 



M. Z., Los Angdles — Mr. Shyc, the young fel- 
low who falls for the chorine in "Midnight at 
Maxim's" (Kalem), is Rollo Lloyd. He certainly 
did fall, when he met her husband at the stage 
door after the show. 



F. B., New York — Yes, Naomi Cliilders played 
in "The Island of Regeneration" (Vitagrapb) as 
Virginia Ohamock. the wife of the owner of the 
yacht "Nasemond. ' 

M. V. B„ New York — You have chosen very 
worthy favorites in Henry Walthall. Mae Marsh, 
Lillian Gish and Blanche Sweet, but in admiring 
them do not forget the unseen Griffith and l)e 
Mille, who have directed their successes. The 
Octolier Photoplay Magazine contained the infor- 
mation you wished regarding "The Birtli of a 
Nation." After nearly two hundred performances 
in Chicago, it moved to a larger theater, one of 
the largest in Chicago, where it is running even 
more successfully at the same scale of prices. 
Mae Marsh was interviewed in July ; Blanche Sweet 
In April : and Walthall in August. No deiinite an- 
nouncement has been made regarding Griffith's 
"Mother and the Law," but it should be ready 
about the first of the year — at least no earlier, 
and perhaps later. It is now in the leisurely proc- 
ess of Griffith production. 



S. L, Boston, and 1". M. E., Kansas City — 
Sidney Drew and Rankin Drew are father and 
son. The "Island of Regeneration." featuring 
Edith Storey, was filmed on Long Island and at 
the Vitagraph Brooklyn studios. 



GtiNTis. Los Angeles — In "A Million Bid," that 
epoch-marking live-reel Vitagraph, the first <>f the 
features, tile husband was Charles Kent ; Ids wife 
and daughter were Julia Swa.vne Cordon and Anita 
Stewart : the young doctor was E. K. Lincoln ; 
the Australian was Harry T. Morey and Furnin 
was Gladden James. The author of this play 
was George Cameron (the late Mrs. Sidney Drew) 
and the picture was produced under the direction 
of Ralph, of the famous I nee name. 



L. B.. Bei.i.ingham. Wash.. M. B.. BotXDBB, 
Colo., and J. L. M.. New York — "Love's Su::set" 
was a Vitagraph release featuring Clara Kitii!:::ll 
Young and Earle Williams. Neither Helen Gardner 
nor Flora Finch is married. Norma Talmud'. e 
and Leo lielaney took the leading roles in "Good- 
bye Summer," another Vitagraph. 



F. W. J., Utica, N. Y". — Blanche Sehwed played 
the part of Roger, Pietro's daughter, with George 
Belrnn in "The Alien," a Thos. II. luce production. 
She is undoubtedly the girl referred to. 

A. L McC, Creston. Ia.. and L. M. W. — Beryl, 
the daughter, in "Clod's Witness." is Florence La 
Badie : Winnie, in "A Woman Scorned," Nan 
Christy. The I.a Badie information you ask for 
is under another reply herein. 



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166 



Photoplay Magazine — Advertising Section 



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F. T. W., VioKsmrno. Miss. — Miss Inn Claire 
lias appeared in numerous pictures, but at the 
present time she is on the New York stage, as 
"Marie-Odile" in the Zlegfeld Follies. There is no 
fixed charge on feature pictures ; the price varies 
according to the age. the popularity and the condi- 
tion of the film. First run pictures, of course, are 
a great deal more expensive than old films, and 
many houses can not handle them at the popular 
prices they usually charge. 



E. G. P., TJiwana, Ohio. — Metro has numerous 
studios, as it is a releasing rather than a produc- 
ing company. Mr. Bushman is with the Quality 
lectures Corporation in I.os Angeles, though, as 
this company releases through Metro, lie is ordi- 
narily said to be with Metro. 



R. M. R., Chicago. — In the third paragraph, on 
page 28. of the July PHOTOPLAY Magazine you will 
find both the date and place of Charles Chaplin's 
birth, and we ask you to refer to it. 



C. W., N. Y. C. — Mrs. Polly Larkin is with the 
Itorsley Company, which has been producing Mlna 
pictures. This company has entered into a contract 
with Mutual to release through it after August 
12th. They own the Bostock Jungle Zoo in Los 
Angeles. 



A. If., Los Axgei.es. — I'aul Tanzer is now with 
the Universal, playing opposite Mary Fuller at the 
New York studio. Mutt Moore has been transferred 
to another Universal company. 



J. H. Y\. Qi-een City, Mo. — The cameraman 
takes the negative film and from this the positives 
are printed, the latter licing used in theatres. If 
one of the positives is destroyed, of course, others 
may be made from the original negative. This is 
done whenever plays are re-issued — new positives 
are made from the negative which is stored for 
this purpose. 



S. M., Syuaci-sb. N. Y. — In "A Deal in Dia- 
monds." Flossy is Neva Gerber and Sophie is 
Katherine Wilson. The maid, Freda, in "Fine 
Feathers." is Geraldine McCann. 



I. D.. 1'iEnMOXT. N. Y. — You probably refer to 
Miss Rose Tapley in "Happy Go Lucky. 

G. L.. Toledo. O. — David Powell plays the part 
of Dandy in "The Dawn of a Tomorrow" (Famous 
Players, featuring Mary I'iekfordt. "Little Pal" 
(also Famous Players) was filmed in California. 
William Hussell is not married. 



Miss W.. CouMms. O. — Y'ou probably refer to 
one of the Vitagrapu's issues of John Bunny 
pictures. 



K. E. B-, Rochesteii. N. Y. — Tsuru Aoki is a 
Japanese. There are in motion pictures no negro 
actors or actresses of any note; the roles are gen- 
erally assumed by white people. 

G". G. G.. Salbm, Va. — Henry King is with 
Balboa. Pictures of players are advertised in the 
columns of Photoi'Lay Magazine, but if you are 
unable to obtain the one desired from advertisers 
you might write the film companies or the players 
personally. 



J. E. B.. Atlantic City. X. J. — "The Goddess" 
is still running in Hie newspapers and undoubtedly 
will not appear in book form until the serial is 
ended. The girl in "Samson" and "A Gilded Fool." 
opposite William Farnuni. is Miss Maud Gilbert. 

E. S., St. Louis. — Forrest Stanley is with the 
Morosco Film Corporation, and will appear in their 
pictures. We arc unacquainted with the terms of 
his contract. 

S. D.. Elizaheth. N. J. — Earle Williams' story, 
"Sweethearts." appears in the May issue of Photo- 
play Magazine, a copy of which we will gladly 
forward you upon receipt of 15 cents. He tells of 
his picture sweethearts, a very interesting story 
of the actresses who have played opposite him. 

E. B.. RociiEsTEn. X. Y'. — "Who Pays?" was 
produced by Balboa in California. 



Every advertisement In rnoTOPI.AY MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



167 



A. S. and D. B. B08WELL, X. Mux. — Mary Pick- 
ford was born in 1803 and Marguerite Clark in 
1887, so you can answer your cjuestion yourself. 
Lillian Gisl) and Dorothy Gisli arc both with the 
II. \Y. Griffith company of the Triangle organiza- 
tion at the old Majestic studio in Hollywood. 



P. and B., London, Ont., and J. L. D., Kansas 
Citv. — Mary Pickford is five feet one and Mar- 
guerite Clark live feet two, hut in their case a 
little goes a long way. Head, the answer to J. C, 
New London, regarding "The Clue." 



E. S. II., Newport, R. I. — "Lucille Love" was a 
very interesting story throughout; hut for some 
reason or other has never l>een published in l>ook 
form. Very briefly the story is this : Lucille is the 
daughter of an army officer in the Philippines in 
whose charge are papers of great value. His 
treacherous butler conspires with a spy and the 
papers are stolen in such a manner as to cast sus- 
picion on Lucillc's lover. In an aeroplane Lucille 
follows the spy's ship and boards it. The spy is 
injured and she is assigned to nurse him : the 
ship is wrecked and Lucille and the spy, Louhenue, 
are the only ones saved. On a desert island they 
have many adventures and finally Lucille secures 
the papers ; Lnubeque goes to other scenes of ac- 
tivity and Lucille returns home, where she marries 
her lover, whom she has cleared of all suspicion of 
treason. 



B. II. S., RBSTWOOD-ON-SUPBBIOB, and E. A. D„ 

St. Locis. — We shall be pleased to send you "The 
Trey ©'Hearts" upon receipt of r>0 cents, but we 
are unable to supply "The Exploits of Elaine." 

M. P.. Bkooki.vx. — E. K. Lincoln, playing with 
tlie Photo Play Productions Company, as their 
leading man, comes from Johnstown. Pennsylvania, 
and is thirty years old. He may be addressed in 
care of the company at L'^0 West 4:>d Street, New- 
York City. 



It. M. H„ CHICAGO. — Briefly and to the point: 
Pearl White, Wharton studio ; Barbara Tcnnant. 
World Film Corp; Kathlyn Williams. Selig. at 
Edendale ; Tom Mix. Selig, Las Vegas, N. Mex. 



A. L. A., Kahi'i-ii. Maui, II. T. — Paramount 
sells the 8x10 photographs, which you have seen in 
front of the theatres, for 25 cents apiece, and is 
the only company which has ever announced its 
willingness to do so. They may be addressed at 
110 West 40th St.. New York City, and in writ- 
ing them one should specify, as far as possible, 
the sort of picture desired : should state the part 
of the play from which a still is wanted. 

William S. Hart says, regarding matrimony, 
that he never had the chance ! I. I). II.. writing 
from South Norwalk. Conn., remarks : "Mr. Wm. 
S. Hart has a farm near Westport, alxnit three 
miles from here, and we catch occasional glimpses 
of him, generally in old fishing togs, when lie's 
not working. His friends have a lot of sport at his 
expense, when he makes screen-love, as he is a 
bachelor of the most hopeless type." 



C. W., Brooklyn. — There is no Mr. Harris at the 
Peerless studios, who was formerly the owner of 
the Harris Theatre in Boston. Perhaps you refer 
to Mr. William Harris of the Hudson Theatre. 



E. M., N. Y. — Warda Howard (Essanay) is the 
wife of Mr. John Lorenz. 



W. D. M., Atlanta. Ga. — Mary Piclftord took 
the part of Nance Olden in the Famous Players 
film. "In the Bishop's Carriage." Tom Dorgan is 
David Wall; Fred Olwrmuller is House Peters; 
Mr. Ramsey — John Stoppling ; the Bishop — Geo. 
Moss : Mrs. Ramsay — Grace Henderson ; the detec- 
tive — Howard Missimer, and the actress is Mmc. 
Dalburg. 



R. L. G.. N. Y. C. — Harold Lockwood was with 
Famous Players for about a year ; we do not have 
the exact dates of his coming and going. 



R. M. B.. Bath, Mi:.— In "The Moth and the 
Flame" (Famous Players) the part of Edward 
Fletcher is taken by Stewart Baird ; Charles Daw- 
son — Edward Mordant ; Marlon Walton — Adele 
Hey ; Mrs. James Walton — Dora M. Adams, and 
Jiannette Graham is Irene Howlcy. 

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C. B., Putnam, Conn. — Maurice Costello is the 
son of Thomas and Helen Fitzgerald Costello. l>oth 
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attended the public schools of Pittsburgh and 
started life as a printer's devil, but. before many 
years, had entered the theatrical profession and 
played in stock and witii road companies. He 
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ever since. Mrs. Costello was Miss Mae Tresliam, 
a non-professional, and is the mother of Dolores 
and Helen Costello. both well known screen young- 
sters. It is said Mr. Costello derives his greatest 
pleasure from his trusty tractor, as black grease 
and "tire trouble'' are the most effective excuses on 
a late morning. 



J. Y., Washington. — Lenore Ulrieh, of the 
Morosco screen plaj's. had never appeared in photo- 
plays until recently. She has been with the 
Morosco stage productions for a considerable time 
and has not deserted the stage even now, merely 
transferring her talents temporarily to Mr. Mo- 
rosco's photoplay company. 



E. K. M.. PI..UNFIKI.D. X. J. — You will find the 
complece cast of "The Black Box" (Universal) on 
page 166 of the Septeml>er issue. Miss Anna Little 
has joined the American company at Santa Barbara, 
but it is too early to give the names of any plays 
in which she will be cast. Ruse /'a//, in "Alias 
Jimmy Valentine." with Robert Warwick, is Uutli 
Shepley. Teddy Sampson is a member of the 
Majestic Company, whose plays were formerly re- 
leased through the Mutual program. 



IC. A. and M. M., Lansing, Mich. — The serious 
Chaplin, minus his disguise of fun, occupies a full 
page in the July issue of Piiotom.ay Magazine — 
page 26. On page 28 you will find the date and 
place of his birth. Several other readers have 
requested an off-screen picture, and the one re- 
ferred to is pronounced by Charles Chaplin's inti- 
mate friends as the most characteristic photograph 
in existence. 



A. W. IC, Brockton, Mass. — Maurice and Al 
Stewart are the children in "It's An ill Wind" 
(Thanhouser). a play dealing with the career of a 
clothes-line, and the ill-wiud that blew it away. 



V, S., Bei.xar, N. J. — Mary I'lckford. Lottie 
Pickford and Jack I'lckford are sisters and brother, 
and lwfore their entrance into dramatic work they 
were known by the family name. Smith. However, 
the three players and their mother use the name 
I'lckford exclusively at the present time. 

C. II., POBTBMOUTH, Va. — Florence La Badie has 
blue eyes and brown hair, and, as one might expect 
of a girl of French descent, her middle name Is 
Marie. After legitimate experience she joined 
Biograph and then went to Thanhouser. with which 
company she has been ever since. One of her early 
Thanhouser successes was the gentle role of Mart/ 
In "The Star of Bethlehem." ller part In "The 
Million Dollar Mystery" is familiar to all. 



W, A. F., West C'akkoi.i.ton, O. — Elizabeth Bur- 
bridge, of the New York Motion Picture studio, is 
a San Diego girl, a tall brunette. She was born 
December 8, 1894. appeared Hist on the stage in 
vaudeville in 1910 and joined Biograph for her 
initial picture work in 1912. later playing with 
Kincmacolor, Frontier and New York. Vivian Rich, 
one of Neptune's daughters, discovered America at 
Philadelphia and spent her early life in that city. 



D. II., Vancouver. B. C. — The principal feminine 
role In each of the following was taken by : Bessie 
Barriseale in Lasky's "Hose of the Hancho :" Bea- 
trix Michelena in California's "Lily of Poverty 
Flat:" Ina Claire in Lasky's "The Wild Goose 
Chase," and Mabel Trunnelle in Edison's "Shadows 
of the Past." . 



V. IT., New York. — The role of Ella. Seaford in 
"The Earl of Pawtucket" (Universal) is portrayed 
by Flora Mason, while Lawrence D'Orsay took the 
lead as the Earl. This is the Augustus Thomas 
play under the same name it bore on the stage. 

F. II.. New Y'ork.- — The Seventeenth of Febru- 
ary, 1895. was a day that made history for Brook- 
lyn, for it gave Anita Stewart to the drama. Earle 
Williams was born February 2S, 1S80, in Sacra- 
mento. 



Winn you write to advertisers please mention PHOTOPLAY MAGAZINE. 



Photoplay Magazine — Advertising Section 



169 



H. C. E., Philadelphia, and N. l... Sax Josk, 
Cai.if. — We will gladly supply you with the 
"Black Box," in book form, upon receipt of 50 
cents. Marguerite Marsh is her real name, though 
she is now known professionally as I.ovey Marsh, 
which is a sort of compromise between Marguerite 
Marsh and her former professional name. Mar- 
guerite Loveridge. She is a sister of Mae Marsh. 
Karle Williams and KatMyn Williams are no rela- 
tion whatever. 

If. L. D., Wichita. Kan. — "Wildflower," a Famous 
I'layers' release, was taken up state in New York : 
"Tlie Goose Girl" and "The 1'retty Sister of Jose" 
wire taken in Los Angeles and immediate vicin- 
ity ; "t'ablria" reveals settings from ancient Koine 
itself — "Italy and the Lavinian shores ;" "Nep- 
tune's Daughter" is a Bermuda picture. 

L. S. E., IIazlkton, I'a. — In the Fox production 
of "Samson." Miss Maud Gilbert, who was Mr. 
Gillette's leading woman in the stage produc- 
tion, plays the role of Mine. Jlranchard opposite 
(or contrary, In this case) William Farnum. She 
portrays the scornful wife admirably : the mil- 
lionaire husband was a dock-hand, you know. 



J. \V.. TrscuMM.i. Ai.a. — Herlwrt Standing, witli 
Morosco, is an English player of many years' rep- 
utation, and Jack Standing, who has appeared in 
so many Lubin releases, is his son. The Fair- 
hanks twins are named Marion and Madeline. 



M. P.. Sax Hikco, Camp. — Adam Bill, in 
Essanay's "Eyes that See Not," is Sydney Ains- 
worth. Regarding "t'nbiria" refer to page 155 of 
the September issue in the answer to D. G. D. 
Blanche Sweet and Henry Walthall take the 
principal parts in Biograpb's "Judith of Bcthulia," 
which was reissued some time ago. 



O. O. O.. Northwomo, N. D. — "I have written 
nine scenarios and sold only two." Doing very 
well, we think — usually the first nine go into a 
person's scrapliook of Valiant Attempts. Apply 
personally at any of the studios. 

G. B., Toronto— In "The Divided Locket." the 
Gypsy girl is Augusta Anderson and Ktlith is 
Madge Kirbv. Helen Badgley is the child in 
"The Cycle of Hatred." 

K. C, Silver Citv, N. M. — In the New York 
Motion Pictures' Shorty series. fihorty is Jack 
Hamilton, and Elizabeth Burbridge is usually 
"the girl." If you are interested in racing, you 
should see Univcrsal's "All for Peggy," a Pauline 
Bush release of last spring. 

R. D.. Si'RixoiiiLi.. W. Va. — In Selig's "Kosary," 
young llrian Kelly is Roland Sharp, but Charles 
Clary plays the older Brian Kelly role; Pother 
Ulian is Frank Clark. Jack Ulcnarm is Harry 
Mcstaycr. and Miriam and OHvio are Grace Dar- 
mond and Gladys Samms. in "The House of a 
Thousand Candles." In Lasky's "The Fighting 
Hope," Burton Temple is Thomas Meighan. 



E. E. B.. Washington, d. C. — The cast of 

Kalem's "Legacy of Folly," featuring Lois Mere- 
dith as Constance, is as follows : Conine, Con- 
stance's mother, Gertrude Barnes ; Itunforth, a 
man-about-town (evidently some sort of rascal 
person in a dress suit), Robert Ellis; tfcott, a 
writer, Tom Moore ; his aunt, Clara Blandick. and 
the Mother Superior, Helen Daly. 

R. B., UltnANA. III. — Violet Mersereau is the lit- 
tle mother in I'niversal's "Broken Toy." Harry 
Von Meter and Vivian Rich have the leading roles 
in "A Heart of Gold." Bella, in Vitagraph's 
"Mortmain." is Muriel Ostriche. 



B. Y.. Columbus. O.. and L. E. II.. Miami. Oki.a. 
— Bamej Sherry and Anna Little take the leading 
roles of Jim Howe and .YeM Howe in New York's 
"Past Redemption." Rev. Drummond is Richard 
Stanton; .time Drew, Miss West: Little Tom, 
Thelmn Salter, unci the Xheriff is Win. Epbe. 
Elizabeth Burbridge and Webster Campbell take 
the parts of Mary and the Prince in "Mother 
Ilulda." also a New York picture : the Widow is 
Gertrude Claire; Mother llulita is Aggie Herring; 
Martha is Virginia Pbilly : the fairy is Margaret 
Thompson, and the bandit is George Fisher. 



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170 



Photoplay Magazine 



F. M., Baltimore. — The principal characters in 
"The Broken Coin" (Universal) are : Grace Cunard 
as Kitty Gray. Francis Ford as Connt Frederick, 
Harry Schumm as King Michael II, Ernest Shields 
as Count .Sachio, W. C. Canfield as the outlaw, and 
Reese Gardiner as the Apache. 



P. H., Kansas City. — The roles of Frank Perry, 
Helen Perry and the father and mother in "Are 
You A Mason" are taken by John Barrymore, 
Helen Freeman, Charles Dickson and Ida Water- 
man. 



G. R., Bat Shore, N. T. — In the wreck scene 
of "The Juggernaut." several of tie players were 
in great danger when thrown into the water, and 
Earle Williams was among the number who were 
saved from drowning. He had a very narrow 
escape, the water was icy and he was taken with 
cramps, but someone fortunately was able to throw 
him a rope and finally pull him ashore. 



C. L.. Portland, Ore. — John Barton, the black- 
smith, in "A Phyllis of the Sierras" (Cal. M. P. 
C), the father of Minty (Beatrix Michelena), Is 
Andrew Robson. 



Ramble. Minneapolis. — Betty Wright's father, 
in the "Wild Goose Chase" (Lasky), is Raymond 
Hatton. Regina, in "Ghosts" (Majestic), is Lor- 
etta Blake. The role of the Mysterious Messenger 
in "The Arab" (Lasky) is also taken by Mr. Hat- 
ton. The scenes in "Stolen Goods" are all taken 
around Los Angeles and vicinity. Boyd Marshall 
is the Country Boy in Thanhouser's "Angel in the 
Mask." 



D. L.. N. Y. — The first instalment of the story of 
Chaplin's life, in July Photoplay Magazine, an- 
swers all your questions. 



A. II., Pasadena. — The storm scenes in "Tess of 
the Storm Country" are studio effects. While 
there are many negroes in "The Birth of a Nation," 
the leading negro roles are taken by white actors : 
Lydia Brown is Mary Alden ; Silas Lynch, the 
Lieut.-Govornor, is George Seigmann : Nelse and 
Jake are John McGlynn and Ernest Campbell, and 
Gus, the renegade Captain, is Walter Long. 



E. M. V., Antioch, III. — Address Mary Pickford 
in care of the Famous Players Film Company in 
New York City, and Kathlyn Williams in care of 
Selig Edendale Studio, Los Angeles, Calif. 



V. H., Haxtun. Colo. — O. A. C. Lund is direct- 
ing for one of the Universal studios at present. 
Bessie Barriscalc and J. W. Johnstone, as Juanita 
and Kcarnv. the government agent, take the prin- 
cipal parts in "The Rose of the Rancho" (Lasky). 
Dorothy Phillips takes the lending feminine role in 
"Three Men Who Knew." Alan Forrest is with 
the National Film Corporation, Los Angeles. 



L. G.. Jacksboro. Tex. — There were twenty-three 
episodes (including the solution) in the "Million 
Dollar Mystery." 



G. C. II.. Davenport, Ia. — James Neil, Theodore 
Rolwrts and Tom Forman have the principal male 
roles in "The Governor's Lady." 



W. L. Omaha. — Leo White is with the Los 
Angeles studio of the Essanay Company. 

W. B„ NASHUA, N. II. — You probably refer to 
"The Sight of the Blind." which is an Eclair 
production. 

G. M., Rochester. N. Y. — Ethel Grandln is with 
the Grandin Films, which is now releasing through 
the General Film Company. 



II. A. W.. Toledo, O. — House Peters is with the 
New York Motion Picture Corporation, but the 
first picture in which he will appear has not been 
announced as yet. 



R. T. H., Baltimore. — Hobart Henley is at Uni- 
versal City. Y'ale Boss is fourteen years old. 



X. B.. Glex RlDtiE. X. J. — Molly, in Kalem's 
"The Monev Leeches." is Marin Sais : Gordon Stan- 
ley is W. II. West. "The Millionaire Cabby." on 
page ICO. July Photoplay Magazine. 



Randolph Clob. — William Farnum. Dustin Far- 
num and Marshall Farnum are brothers, and are 
New Englanders. of English-Irish descent. William 
Farnum played in Selig's "Spoilers." and for Fox 
in "Samson." "A Gilded Fool," "The Plunderer." 
"The Nigger." and "The Bondman." William and 
Dustin are both married. 



N. E.. Merced. Calif. — The cast of "Snobs" is 
given on page 154 of August Photoplay Magazine, 
and we ask you to refer to it there. 



W. W. W.. Pittsburgh. — In Metro's "Always in 
the Way," Dorothy North as a youngster, four 
years old, is Ethermary Oakland, but the later role 
as Dorothy North is played by Mary Miles Minter. 



M. R.. Dorchester. Mass.. and B. D.. Roslin- 
dale. Mass. — Lillian Walker is "June Line" in 
"The Little Doll's Dressmaker" (Yitagraph). 



S. B. and J. C. Boston. — Billie Billings is the 
girl you refer to in "Mr. .Tarr and Love's Young 
Dream." 



Requests for Interviews are always duly noted 
and the lists turned over to the editors. Readers 
should not expect references to such requests in 
this department, as they merely cover space better 
used for photoplay information. 



N. H., Montreal, asks : "How are people here 
in Canada going to write players for photographs. 
Inasmuch as it is impossible to obtain American 
stamps and it is not right to expect pictures 
gratis?" Make use of the International coupons, 
which may be obtained at the postofiice. and which 
are exchangeable for stamps in any country. We 
receive them on every mail boat from Australia 
and New Zealand and from your own country. 

V. P.. Ccmberland. Md. — 'The Blessed Miracle" 
has not been published in book form and we do 
not believe that it is obtainable as a story. 



D. H. C, Arizona. — We will not recommend the 
school of photoplay acting referred to in your let- 
ter. We do not believe in any of them and refuse 
to accept their advertising. 

M. J.. Los Angeles. — The last information we 
have regarding Dot Farley is that she is with the 
Albuquerque Film Company in your city. They 
released on the United Program and we have not 
heard what new arrangement they have made. 



B. II.. Magrath. Alta. — Charlotte Burton, who 
plays one of the leads in the "Diamond from the 
Sky." is with the American at Santa Barbara. 
James Kirkwood was the Eagle in "The Eagle's 
Mate." opposite Mary Pickford. 

J. A. P.. Charlotte. N. C. — In "The Shooting 
of Dan McGrew" (Metro) Dan MeOrew is Wm. A. 
Morse : Jim Maxwell — Edmund Breese : Lou — 
Katheryn Adams : Nell — Betty Riggs. 

G. L. G.. Nor walk. Conn. — One of Tlieda Bara's 
latest pictures is "Lady Audley's Secret." follow- 
ing "The Clemeneeau Case." "A Fool There Was." 
and "The Devil's Daughter." and then. too. you 
probably read the story of her life in September 
Photoplay Magazine. 

E. S.. Sydney. N. S. W. — Gerda Holmes is the 
wife of Rapley Holmes. Your other questions are 
answered under other replies in this and several 
recent issues. 



K. M. J.. Pittsburgh. — You are correct and so 
are we : Edith Storey first appeared with Vita- 
graph and was immediately sent to Texas to take 
part in some western plays that Vitagraph was 
producing at that time. 

W. E. D.. Ottawa. Ont. — Beatriz Michelena and 
House Peters have the stellar roles in "Mignon" 
(California), playing Mignon and Wilhelm Meister. 
Lothario is Andrew Robson : Filinu, Clara Beyers : 
Gitirno. Emil Kruiske : Frederick, William Pike, 
and Giarno's daughter is Belle Bennett. Miss 
Michelena has completed her work in the produc- 
tion of "Salvation Nell." starring in the title 
role, and we shall have the opportunity of seeing 
her in another lovable portrayal. 



Photoplay Magazine — Advertising Section 



171 



S. G.. Chicago — The cast of 'The Goddess." of 
Vitnsrapli production, is Ions;, but we feel the 
interest warrants civinjr it in detail. Celestia and 
Tommy Barclay are Anita Stewart and Earl Wil- 
liams; Barclay, BlacUstone and Semmcs, the three 
millionaires, are Frank Currier. Thomas Brooke and 
Charles Wellesley ; Professor stillcter is Paul Scar- 
don : Blackstone's daughter is Lillian Burns : 
Freddie, the Ferret, and Xellic, his sister, are 
William Dunsiruin and Mary Anderson : Silos Kehr, 
the mine owner, is Kdward Elkes : Ounsdorf, the 
strike leader, and his' wife are Ned Finley and 
Hulnlie Jensen ; Carson, a prominent striker, is Rob- 
ert Galllard : the woman who snares Celestia in 
New York, with Swectzcr's aid, is Louise Heaudet. 
and Swcetzer is Anders Bandolf. The dear old 
lady whom Celestia saved from eviction is Mrs. 
Mary Maurice. Other well-known players taking 
lesser roles arc Kathcrine Franck. Mae Ilalpin. 
Ethel Corcoran, James Pent, Harold Foshay. and 
Millie BillinfTs. Celestia, as a child, when kidnaped, 
is baby Wiley. 



L. P. T.. Manchester, N. H. — Nell Craig, of the 
Chicago Essanay studio, is a Philadelphia girl, 
and she received her first stage experience in that 
city with the Orpheum Stock Company. 



E. H. F., Louisville. Kv. — James Cruze has 
not, as yet, announced his plans for the future, 
but we shall undoubtedly lw able to give them to 
you before long. "The Second in Command" is a 
Hollywood production. 



A. B. G.. Commence, Tex. — Jane Ferris' brother 
John in "Jane of the Soil" is Hichard Travel's. 
Vera Wallace, in "The Rosary," is Kathlyn Wil- 
liams : Alice Wallace is Gertrude Ryan, and Bruce 
Wilton is Wheeler Onkman. 



F. T„ Cantos. O., and F. G. B.. Montclalir. N. J. 
— Harry Carter is Wilkcrson in "The Master 
Key." and Joseph Iimal>erry is Joe. in "Children 
of the Sea." Vernon Steele plays the part of 
Paul in "Hearts in Exile." with Clara Kimball 
Young, and also the part of Sterling in "The 
Vampire." In "Cinderella." Prince Charming is 
Owen Moore, opposite Mary Pickford. 

M. E. S.. Pleasant Hill. III., and H. A. R.. 
Rio Vista, Calif. — John Bunny was married to 
a non-professional. Jane Novak, playing opposite 
llobart Bosworth in "A Little Brother of the Rich." 
joined I'uiversal in the early summer. Your Gish 
questions are answered on page J 54 of September 

l'lIDTorl.AV. 



G. E. M.. Berkeley, Calif., and N. K. S., Van- 
coivek — The east of "Such a Little Queen" is 
given in the October issue on page 168, and we 
ask you to refer to it there. In Lasky's "Warrens 
of Virginia." the General is James Xeill. Mrs. 
Warren is Mabel Van Buren and Ayatlia is Blanche 
Sweet. None of the American film companies 
maintain permanent studios in Canada, though 
a great many special pictures or parts of pictures 
are made by companies who go there for that 
purpose. 



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172 



Photoplay Magazine — Advertising Section 



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J. G. 1!., TOBONTO. — Undoubtedly when condi- 
tions become settled again after the war Canada 
will have several Him companies of her own. The 
cast in "The Ksta brook Case" (Vitagraph) is as 
follows: Howard Kstabrook — L. Rogers Lytton ; 
District Attorney — Robert Gaillard ; Paul Sturgess 
—Garry McGnrry : Grace Van Austin — Zene Keef e : 
Mrs. Van Austin — Cissy Fitz-Gerald : Mr. Van 
Austin — Charles Kent, and Ann is Julia Swayne 
Gordon. In Selig's "Red Wins." Mattie Connolv is 
Elsie Greeson and the chorus girl is Irene Wallace. 
House I'eters is now with the New York Motion 
1'icture Corp. 

L. McN.. Newton, Ia. — The cast of "The Bar- 
gain" tThos. II. Ince) is: Jim Stokes — Wm. S. 
Hart ; the Sheriff — J. Frank Burke ; 1'hll Brent — 
Barney Sherry : the Minister — James Howling ; Nell 
—Clara Williams. The cast of "The Victim" 
I. Majestic I : James Darrcll — Eugene Pallette; 
Frank Hastings — Itobcrt Ilarron : Mary Hastings — 
Mae .Marsh ; Jason Ferguson — W. II. Brown. 



I. G.. Er. Paso, Tex. — The Princess Parlova in 
"The Million Hollar Mystery" was Miss Claire 
Krall : she has since left Thanhouser. There were 
twenty-two episodes in "Zudora," or the "Twenty 
Million Hollar Mystery," as it was called later. 



E. C. P.. Ci.AMNDA, I.\. — The cast of "The Lass 
o' Killkrankie" (Universal) is as follows: Laurie, 
Hugh and Dame Killkrankie are Elsie Albert, P. W. 
N'ares and Isalwl Vernon ; the grandfather is Hnddv 
Manley : Laird MncNutt is Bexford Kendrlck, and 
I.aird MaoNabb is Charles Hutchinson ; Tommy Is 
C. Beisland. 

I. P. C, Makiktta. Ga. — The leading roles in 
"The Girl of the Golden West" (Lasky) were taken 
by Mabel Van Huron as the girl ; Theo. Roberts as 
Jack Banco : and House Peters as Ramerrez, the 
good natured desperado. 



II. II., Si'itiNCEiEi.n. Mass. — Grace Darling is no 
longer with the Hoarst-Solig news pictures, or the 
Selig Company. 



E. B.. St. Joseph. Mo. — "The Mysterious Black 
Box" (Selig) was released November 20. 1014. 
John Lancaster. Lylllnn Leigh ton. Elsie Greeson 
and Sid Smith take t'>c parts of Mr. Fogg, Mrs. 
Fogg, Betty Fogg and Bill Hodge. 

N. T.. Atlantic Citv. N. J. — In "The Sea 
Wolf ( Bosworth. Inc. I Hobart Bosworth Is Wolf 
I.arsen. "the sea wolf." "Hump" is Herbert Baw- 
linson : the girl is Viola Barry ; and cookie is J. 
Charles Hayden. 



D. II.. LoN«;MEAnow. Mass. — Miriam Strange, in 
Boswortb'a "Wild Olive." is Myrtle Stedman. In 
"The Arab" (Lasky) the sheik's son is Edgar 
Selwyn. 



G. B.. Pi.AiNiir.i.n. N. J. — Louise Vale is married 
to her director. Travers Vale. Alan Hale is mar- 
ried to Gretchen Ilartman. 



E. St., Topeka. Kan. — James Kirkwood directed 
Biograph's "Strongheart," and the roles of Strong- 
heart and Dorothy Nelson were taken bv Henrv 
Walthall and Blanche Sweet. 



A. E. W. — Arthur Albertson. of the Florida 
Kalem studio, was born in Waycross. Georgia, Jan. 
(!. 1802. He was educated at the University of 
Florida and also at Washington and Lee. Yes, 
unmarried. . , 

E. G. D.. White Plains, N. Y. — Miss Dorothy 
Fa mum, of the World Dims, was Iwrn in New York 
City. June 10. 1800. Her ancestors were French, 
but they came to America so long ago that she is 
strictly an American herself. Before Joining the 
World studio she was in stock at Detroit. 



R. R.. Dallas. Tex. — Selma. in "The Heart of 
a Tainted Woman." is Mme. Petrova : the artist — 
Fraunie Fraunhoiz : the spendthrift — Mahlon 
Hamilton: wealth — James O'Nell. Yes. Mahlon 
Hamilton took the part of Paul in "Three Weeks." 
William Fnrnnm of the Fox films is married. 

O. C, St. Thomas. Ont. — "The Sign of the 
Cross" (Famous Players) was filmed at Yonkers 
and Saratoga Springs, N. Y. 



Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



173 



K. M. G.. Farco. N. Dak. "The Price of IIct 
Silence" and "A Disciple of Nietzche." both Than- 
housers, released Septemlwr .'!Oth and 25th. respect- 
ively, are the two latest Florence La Badie plays 
to be presented to her admirers. "The House of a 
Thousand Scandals" is the latest Harold Lockwood- 
May Allison play. 



A. J. W., Umoxtowx, I'a. The prize that the 
North American Film Corporation is offering in 
connection wjtli the presentation of "The Diamond 
From the Sky" is to be given to the person sug- 
gesting the best sequel to the story. It is not a 
prize offered for the solution of a mystery, or any- 
thing of the sort, but is offered for the best story 
to follow "The Diamond From the Sky" as a sequel 
or continuation. The address of the North Amer- 
ican Film Corporation is 222 South State Street. 
Chicago. 



E. J. W„ St. Louis. Patrick OMalley, of the 
Edison company, was born in Pennsylvania at 
Forest City, in September of 1S00. After consider- 
able experience in vaudeville and with the Kingling 
Brothers, and Barnum & Bailey, he joined the 
Kalem company in 1!)12. the Oene flnutier Fentures 
in mi:!, the Sid Olcott Players in 1014. and spent 
much time taking pictures with the last company 
in Ireland. He Is a tall, blonde Irishman. 



IC. II., Santa Bakp.aua, Cal. When you see a 
news item in I'iroToiM.AV Magazink you may know- 
that it is not a mere minor. Nolan Gane died last 
spring. We ore always glad to receive requests 
and suggesions from our readers and make every 
effort to find ample space for them. Write us at 
any time. 



M. F., Ni:w York Citv. The Arnold Daly series 
of pictures, of Pathe's. are under process of pro- 
duction at the present time. .lust when the first of 
these will appear cannot be staled at present. 
Pearl White is no longer with the Whartons. 
though she may be addressed in their care, and at 
the present time is taking a rest and a vacation. 
Her future plans have not been announced. 

P. B.. Kihksvillk, Mo. Falstaff. Princess and 
Thanhouser films are all the productions of the 
Thanhouscr Film Corporation of New Kochelle. N. 
Y., to whom Falstaff mail should be addressed. 



A. C. L., CHICAGO. Helen Holmes is the wife of 
Mr. .1. I". Mcfiowan, one of the directors of the 
Fniversal company. In many of the "Hazards of 
Helen" Miss Holmes and Mr. Mcfiowan played 
opposite each other, but they have l>oth left Kalem. 



V. B., Toronto, Ont. — Doesn't it ever strike you 
as amusing that you write us to know whether 
your favorite actor or actress will answer you. 
when the same stamp and war-tax would ask your 
friend personally? We can only say, that as a 
rule some of them do and some of them don't t 
It prpbably makes quite a difference as to what 
you write : try them out and see for yourself. ,1. 
Warren Kerrigan and Harold Lockwood are both 
unmarried and Kerrigan may be addressed at Uni- 
versal City and Lockwood at the American studio 
at Santa Barbara. Calif.; Marguerite Clark at the 
Famous Players' New York office. Did you see 
Miss Clark in "Helen. • of the North?" It was a 
very Interesting picture with a very interesting 
story running throughout. 



D. W.. Canton, <>.- -Fay Tincher has moved to 
the (irlllith forces of the Triangle, and the famous 
stripes of that famous dress are to go into the 
discard. It is said she will play opposite De Wolf 
Hopper in the screen version of the "Pickwick 
I'apcrs :" it should prove a great team. 



V. O., SraiMii-iKi.n. Il.t.. — Your friend Robert 
Walker is no longer with the Kalem company, hav- 
ing recently joined Fdison. Hazel Dawn, Itusscll 
Ilassett and James Kirkwood have the more im- 
portant parts in "The Heart of Jennifer." a Fa- 
mous Players' production. Kirkwood, by the way, 
is also the director of this film. 



D. B., Minnkapoms. — Donald Crisp is no longer 
with I). W. Griffith, as he has recently been en- 
gaged by the Clune forces as director. Yes. Mr. 
Crisp was one of the assistant directors in the pro- 
duction of "The Birth of a Nation." 




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When y*u writ; to advertisers please mentio'i PHOTOPLAY MACJAZIXK. 



174 



Photoplay Magazine — Advertising Section 



utr////y/y/jY/////////////////////////^^ 






I 
I 






I 






S.O. 

Do you know what S. O. 
means? We'll tell you. It's 
what hundreds of readers of 
PHOTOPLAY MAGA- 
ZINE have had told them in 
the last few months by news- 
dealers. We know because 
we get letters every day from 
readers complaining that un- 
less they get to their dealer 
almost as soon as the maga- 
zine appears they find it S. O. 
— " Sold Out." Why take this 
chance when you can get the 

Next Four Issues of 

Photoplay Magazine 

For 50 Cents 

delivered to any address you wish 
the first of each month. 

This saves calling for your copy 
— it insures your getting one — it 
saves you ten cents and it gives you 
an opportunity to thoroughly inves- 
tigate the magazine before you send 
in $1.50 for a year's subscription. 

When you take advantage of this 
special short term subscription offer, 
make your remittance in postal or 
express money order or check. 

PHOTOPLAY MAGAZINE 

350 North Clark Street, Chicago, Illinois 



1 



ny/////////////////////////////////////////////////////////////tv/////s/T} 



I!. M. Goshen. Ixu. In Thanhouser's "Movie 
Pans" the stenographer and the shipping clerk are 
Lorraine Hilling and Hilly Sullivan. In "The Come 
Back." a Majestic, Borden. Dennlson and the girl 
are Elmer Clifton, Kalph Lewis and Billie West. 
In "Snobs," a Lasky film, Ethel Hamilton is Anita 
King, who, by the way, is crossing the continent 
at the present time in an automobile. Jane, in 
"The Flight of a Night Bird," another Universal, 
is Agnes Vernon. 



E. W., New Orleans. Essanay's "Little Straw 
Wife" and "The Slim Princess" were released quite 
a while ago. "A Man Afraid" was released July 
81, and features Richard Travcrs as the hero and 
Kenee Noel as the girl. Francis X. Bushman plays 
the part of Alexander Pike, the American, in "The 
Slim Princess," and Ruth Stonehouse appears in 
the title role. 



L. W. II., Hartford. Conn. Kindly read the 
coming series of articles on Mary Pickford and her 
career, regarding the matters to which you refer. 
It Is going to be the most interesting and widely 
read story of this lovable little player that has 
ever been written. 



M. B., Denver, Coi.o.. and L. N.. Los Axgei.es. 
You may address William S. Hart at Inceville. 
Santa Monica. California : and Edna Mayo and 
Bryant Washburn at the Chicago Essanay office. 
Miss Mayo is unmarried. Blanche Sweet is twenty 
years old. 



,T. S. J.. Bay Shore. N. Y. Tom Moore is the 
young minister in Kalem's "Prejudice." and Mar- 
guerite Courtot is the deacon's daughter. Kalem 
is about to inaugurate a series of pictures on the 
order of the "Hazards of Helen," In which they 
will feature Marguerite Courtot. 



G. B.. Baltimore. Alice Hollister is with the 
Florida Kalem. "May Blossoms," a Famous Player 
release, with Gertrude Robinson as the girl, is a 
California picture. In "The Soul of the Vase" 
Robyn Adair and Beatrice Van are the potter and 
his wife. Both Norma and Constance Talmadge 
are with the National Film Corporation In Los An- 
geles. 



J. A. W.. Forney. Tex. Y'oii should address 
Ormi Hawley at the Lubln studio, in Philadelphia. 
Marguerite Clayton is at Niles. Cal. : Lillian Walker 
at the Vltagraph studio in Brooklyn, and Velma 
Whitman at Lubin's Los Angeles studio. 



c. B. II.. Ei. Paso, Tex. We have no idea 
whether your city will be included in the routings 
of any of the "Birth of a Nation" films, or not. 
There arc several films touring the country now. 
making stops of a week or more, but at these ex- 
hibitions the big orchestras, which add so much to 
the performance In New York and Chicago, are 
missing. Tl-'s accounts in some cases for the 
slightly lower scale of prices. Harold Lockwood 
has light hair and blue eyes. 



W. D.. Durham, N. C. Jack Hamilton is still 
with the New York Motion Picture Corporation, 
and appeared on September 23d in a one reoler 
entitled "Never Again." 



A. B. B.. Charleston. W. Va. Mary Pickford 
would assuredly answer your letter if it is pos- 
sible for her to spare the few necessary moments. 
Don't ask for a picture, however, without sending 
a quarter at least. 



L. C, Independence. OnE. Y'ou refer to Roberta. 
Hickman, with Elsie .lanis. in Bosworth's "Betty 
in Search of a Thrill." Owen Moore was the man 
in the affair. 



M. C, Philadelphia. We shall be glad to send 
you a copy of PHOTOPLAY Magazine for October. 
1914. containing the Pearl White interview, upon 
receipt of 15c. In this issue Miss White was the 
Girl on the Cover and the usual Interview accom- 
panied the cover picture. 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



175 



L. M. .1. William A. Morse is Dan McUraw in 
the shooting of Dan by Metro, in "Four Feathers," 
the General is Bdgai L. Davenport : Lieut. Sutch, 
Kiillcr Mellish: Harry I'eversham. as a boy, Ogden 
Child. Jr., and as an army oflieer, Howard Ksta- 
brook ; Capt. Durrance. Arthur Evers : Mr. Eustace 
and his daughter, George Moss and Irene Warlield. 



G. G. F., Maywood, III. Webster Campbell is 
no longer with the American films, as Vitagraph 
has engaged him to play opposite Mary Anderson, 
now that Miss Anderson has gone to the western 
studios. 



J. J. F.. Cleveland. Yes. Beatrix Michelena has 
a sister Vera Michelena, but she is not in the 
moving pictures. At the present time Vera is in New 
York at the Century, with "Town Topics." which 
opened there on September Kith. This company 
is headed by Trixle Friganza of mirthful fame. 



L. C. II.. Lowell. Mass., and E. C, Brooklyn. 
Mary Miles Mintcr may be addressed at the Metro 
offices in New York City. The name of the myste- 
rious lady on page s:i of the September issue is 
given on page 158 of the October number, under 
the caption, 'The Woman Question." She is Ger- 
trude McCoy of Kdison. 



E. B., Chicago. The Eddie Foy who is non- 
making funny films for Keystone is in fact the 
same Eddie who was playing in "Mr. Bluebeard" 
at the Iroquois Theatre in Chicago at the time it 
flamed forth in one of the greatest theatre disasters 
of history. His name in private life is Edwin — 
imagine it. "Edwin" — Fitzgerald, and he calls Chi- 
cago home. 

II. K., New York City. Y'ou are not the only one 
who has been immensely amused over the name 
"V-L-S-E" and the nickname "Vaseline." It is 
said that the elevator boys in the Mecca Building 
in New York have now gotten hold of the name 
and call out "Vaseline" wlieu the V-L-S-E floor is 
reached. Oil, well ! 



' F. B.. Dayton. O. Universal City is a suburb of 
Los Angeles, and is easily reached by trolley or 
jitnev 'bus. I'ntll 1'nlvorsal City was fully organ- 
ized." mail for people there was handled through 
the Los Angeles DOStofflce, and even now all mail 
goes via Los Angeles. It is a complete city in 
every respect — just like Dayton, only not so 
crowded ! 



B. M., Buffalo. In Edison's "At the Stroke of 
Twelve'' Colli'- is Richard Tucker : Stella Kazeto is 
Mrs. Edward .1. Le Saint, her husband lieing one of 
the directors of the Universal company. Mrs. Mary 
Maurice has been with the Vitagraph for three 
years or more, but prior to entering screen work 
she played for many years on the stage, having ap- 
peared in support of Booth. Jefferson, and more 
recently Mantell. 



R. M., Fti.ToN. Mo. Pronounce Theda with a 
long "e," accenting the first syllable : liara. the 
"a" as in care, accent on first syllable. The "i" 
in Ince is short. Laemmle as though spelled 
Lemley, accenting the first part. 



F. A. P.. Boston. A Moreno interview will ap- 
pear before very long, and we ask you to await it. 
Under another answer we have given his national- 
ity and age. The Birth of a Nation" and "The 
Clansman" are one and the same play, one name 
being used in certain cities and the other name 
elsewhere, as best pleases the censorial powers 
that be. 



1'. F.. Portsmouth. O. Address your contribu- 
tions "Seen and Heard at the Movies," Photoplay 
Magazine, Chicago. 



L. L., CUMBERLAND, Md. Just the moment there 
is any Alice Joyce news our readers will have it 
immediately. As yet there is none, but we feel 
sure that she does not intend to remain in private 
life permanently. The telephone girl in "Little 
Miss Brown" (World Films) is Jewel llilhurn. 



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176 



Photoplay Magazine — Advertising Section 




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STUDIO DIRECTORY 

For the convenience of our readers who 
may desire the addresses of film companies 
we give below a number of the principal 
ones : 

American Film Mfg. Co., 6227 Broad- 
way, Chicago, or Santa Barbara, Calif. 

Balboa Am. I'iiod. Co., Long Beach, Calif. 

Biograpii Company, 807 East 175th St., 
New York, or Girard and Georgia Sts., Los 
Angeles, Calif. 

Bosworth. Inc.. 220 West 42d St., New 
York, or 201 N. Occidental Blvd., Los An- 
geles. 

California M. I*. Corp., San Francisco. 

Tuus. A. Edison, Inc., Orange. N. ,T., or 
2826 Decatur Ave.. New York City. 

Eastern Film Corporation, Providence, 
R. I. 

Essanay Film MM. Co., 1833 Argyle St., 
Chicago; Niles, Calif.; or 651 Fairview St., 
Los Angeles, Calif. 

Famous Players Film Co.. 213 West 
26th St., New York, or Bronson and Mel- 
rose Sts., Hollywood, Calif. 

Features Ideal, Inc., 1630 Gordon St., 
Hollywood. Calif. 

Fox Film Corp., 130 West 46th St., New 
York. 

Gaumont Company, 110 West 40th St., 
New York. 

David Horsely Studio, Main and Wash- 
ington Sts., Los Angeles, Calif. 

Kai.em Company, 235 West 23d St.. New 
Y'ork ; Jacksonville, Via.; 1425 Fleming St., 
Hollywood, Calif., or Ycrdugo lioad. Glen- 
dale, Calif. 

Keystone Film Co., 1712 Allcsandro St., 
Los Angeles, Calif. 

Geo. Kleine, Inc., 166 North State St., 
Chicago. 

L-Ko Motion Picture Co., 6100 Sunset 
Blvd., Hollywood. Calif. 

Lasky Feature Play Co.. 120 West 41st 
St.. -New York ; or 6284 Selma Ave., Holly- 
wood, Calif. 

Lubin Mkg. Co.. 20th and Indiana Ave., 
Philadelphia, or 4560 Pasadena Ave., Los 
Angeles. Calif. 

Majestic-Reliance Studio, 4500 Sunset 
Blvd.. Hollywood. Calif. 

Oliver Morosco Photoplay Co.. 201 N. 
Occidental Blvd., Los Angeles, Calif. 

Mutual Film Corporation, 71 West 23d 
St., New York City. 

National Film Corp., Santa Monica 
Blvd. and Gower St.. Hollywood, Calif. 

New Y'ork Motion Picture Corp., Inee- 
ville, Santa Monica, Calif. 

Patiie Exchange, 25 West 45th St., New 
York City. 

Quality Pictures Corp.. Sunset Blvd. 
and Gower St., Hollywood, Calif. 

Sulk; Polyscope Co., Garland Bldg., Chi- 
cago : 11)01 Allesandro St., or 3800 Mission 
Road. Los Angeles. Calif. 

Triangle Film Corp., 4500 Sunset Blvd., 
Hollywood, Calif. 

Thanhousku Film Corp., New Rochclle, 
N. Y. 

Universal Film Mfg. Co., 1600 Broad- 
way, New York, or Universal City, Calif. 

Vitagkapii Co. of America. E. 15th and 
Locust Ave.. Brooklyn, N. Y. ; or 2d St., 
Santa Monica, Calif. 

Wharton Studio. Ithaca, N. Y. 
World Film Corp., 130 West 46th St., 
New York City. 



Every advertisement In PHOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



177 



Casts of Stories from Photo- 
plays in This Issue 



CARMEN 
(Merimce-DeMille) 



Lanky 



Carmen 
Hon Jose 

I'dKiiu, tin' Innkeeper 
Escamiilo, the toreador 

Monties 

J'rasquita 

Ourcia 



Ger&KUiie Parrar 
Wallace Iteid 
Borarce is. Carpenter 
Pedro de Cordoba 
William Bimer 
.Tcanh' Haepberson 
Milton Blown 



THE IRON STRAIN 

(C. Gardner Sullivan and Thoma9 H. Ince) 

Jnce-Trianyh' 

Vhiiek Itemminytray 
Oetavia Van Ness 
Ezra Whitney 
Mrs. Courtney Van Xess 
Kitty iioiivii 



Itustin Knriiuni 
Knicl Marki'y 
cii.uU's K. French 
Truly Shattuck 
Louise Glauui 



Peer Glint 

Sol rely 

Aee 

Anitra 

I m.liiil 

Annabel Lee 

Virginia Thorn* 

Xotanah 

ft. Peter 

The Button Mmtlfler 

The Parson 

ltobert 



PEER GYNT 

(From the Ibsen Play) 

Morocco 

Cyril Maude 
Myrtle Stedman 
Kanny Y. Sfcbekbrlda 
Mary Itenliens 
Mary ltiihy 
Winiiifred Mryson 
Evelyn IHim-au 
Kitty Slevans 
Herbert Standing 
Charles Boggles 
William Drxmond 
Inan de la Crna 



THE IVORY SNUFF BOX 
(From the Novel by Frederic Arnold Rummer) 
Worlil 
Itieltuitl Dneall llollirook Iillnn 

Grace Bttlooi Alma Belwln 

Dr. Ilaitmttn . Norman Trevor 

Prelect of Police ltobert Cummlngs 





REGENERATION 
(From the Play by Owen Kildare) 

Fox 



Oiren Con tray 
Marie Dcrriny 
Skinny the Pat 
Asst. Hist. At I it. 
■Jim Con tray 



ItoekelllTe l-VUowes 
Anna tj. Xilxsun 
Win. A. Sheer 
Carl llarhauirh 
James Marcus 



Y&uSay-^WlWS 



wSfj'« 



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Before turning this page— say, again, "I 
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Electric Lighting 
Electric Railways 
Electric Wiring 
Telephone Expert 
MECHANICAL ENGINEERING 
Mechanical Drafting 
Shop Practice 
Gas Engines 
CIVIL ENGINEERING 
Surveying and Uapplnr 
MINE FOREMAN AND SDPT. 
Metal Mining 
STATIONARY ENGINEERING 
Marine Engineering 
ARCHITECTURE 
Building Contractor 
Architectural Dri fting 
Concrete Engineering 
Structural Engineering 
_ iiimhi.m; ami heating 

J Sheet Metal Worker 
SALESMANSHIP 

Name_ 



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Lettering and Sign Painting 

ILLUSTRATING 

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Stenography and Typewriter 

Higher Accounting 

Railway Accounting 

Commercial Law 

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English Branches 

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AGRICULTURE 

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When you write to r.t^ertlsers please mention PHOTOPLAT HAGASEDfB, 



178 Photoplay Magazine — Advertising Section . 

The Original Oil Painting 
of Mary Pickford 

from which the cover of this issue 

was made, has been pronounced by 
people who know, to be a most striking 
and accurate likeness. 

PHOTOPLAY MAGAZINE 

has anticipated a great demand for art prints of 
this cover. With the desire to serve our readers 
we have had printed alimited number of copies. 

Do You Want One? 

The print is from the original 

oil painting and is produced on the finest art 
paper in four colors and mounted on suitable 
card board for framing. 

Absolutely no advertising will 

appear on these prints — nothing but the like- 
ness is reproduced. This is mailed to you 
carefully packed flat between two pieces of 
stiff board. 

The cost is 25c each 

Please remit in stamps or money order 

Photoplay Magazine 

350 North Clark St. Chicago, Illinois 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 




Are you making the 
mistake 

Ruth Stonehouse made? 

/ had always heard so much about the com- 
fort of your shoes that 1 did not realise how 
very stylish the different models were." From 
a letter by Ruth Stonehouse, popular film star. * 

If you have been making the same mistake about Red 
Cross Shoes that Ruth Stonehouse made, look at the new 
models shown here. Where can you find such smart 
lines, such attractive features, such exquisite refinement 
in details of finish ? 



Red Cross Shoes make your foot 
look belter as well as feel better. 

That is why they are worn by 
Mary I'ickford, Etsic Janis, Beverly 
Bayne, Irene Fenwick, Florence 
Lawrence, Mabel Taliaferro, and 
other popular favorites of stage 
and screen. And that iswhyyou will 
be delighted with the Red Cross 
Shoe when you go to the Red Cross 
dealer in your town and try it on. 

At your first step you will notice 
a marvelous difference. You will 



walk with comfort such as ycu 
have never known before, in a shoe 
that will be everywhere admired. 

Prices : Red Cross Shoes, $4, 
ti.SOandSS. A few styles, $6 to $$. 

Red Cross Plio, a shoe of excel- 
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Cross Style and Comfort. S3. 50 
and Si. 

To know what will be worn in 
shoes this season, and to see the 
correct models f<:r every purpose 
and every occasion — 



Write today for "Shopping List" 

It will be sent you FREE, to slip in the purse or bag you carry on your 
, shopping trips. In it you can jot down the things you must buy. With 
it we will send you the name of the Red Cross dealer in your town, or 
tell you how to or'dcr Red Cross Shoes direct. Write today. 




THE KROHN-FECHHEIMER 

51 1-550 Dandridge Street 
CINCINNATI, OHIO 



CO. 



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I red- Mark 



. F. HALL PRINTING COMPANY, CHICAGO 



Get Beauty while you sleep' 




« " = 



Fight the Complexion Robbers- 
Sun, Wind and Water ! 

They steal beauty by robbing the skin of its protecting 
secretions. A skin thus robbed must be replenished. The unguents 
of this fine new product, Pompeian Night Cream, replenish the skin. 
Applied at night, it soothes, softens and beautifies while you sleep. 
The popularity of this cream is really remarkable. Nearly 30,000 
stores already sell it. It seems to be helpful to complexions in all 
climates. From every state we have already received enthusiastic words 
of praise for this cream, so pure, so white, so smooth, and so fragrant. 

Pompeian NIGHT Cream i I 

By the Makers of Pompeian Massage Cream 



You will fiml Pompeian Night Cream really differ- 
ent. Out of our long experience as makers of Pom- 
peian Massage Cream we have compounded a new 
cream that avoids the dryness of a disappearing cream 
and the extreme oiliness of the average cold cream. 
It is just between, and you will discover, as have 
thousands of other women, that Pompeian Night 



THE POMPEIAN MFG. CO.. 131 Prospect St., Cleveland, O. 

Enclosed find 4c (in stamps) for a trial jar of Pompeian .VieAr Cream, 
and booklet, "How to Get Real Beauty Sleep." 



Name . 



City. 



.State. 



Dealer's Name. 



And Address . 



Cream has the scientifically balanced proportion of 
oils that your skin needs. 

You employ the services of a doctor or lawyer of 
known reputation. Shouldn't you be equally careful I 

in choosing a face cream made by those of knoiun 
reputation and experience? The experienced makers 
of Pompeian Massage Cream took years to perfect 
Pompeian Night Cream. It positively cannot cause 
a growth of hair on the face. 

The nightly use of Pompeian Night Cream will 
keep your skin fair, soft and youthful, and overcome 
the damage done daily by sun, wind and water. At 
your dealer's — tubes, 25c ; jars, 35c and 75c. So 
smooth, so white ! A sure delight. Try it tonight. 

TRIAI IAR and booklet, " How to Get 

1 IV1 ' f ^ 1 - JVAIV Real Beauty Sleep," sent 

for 4c in stamps if you also send your dealer's name. 

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